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"Walter O'Malley",
"Early years"
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Where was O'Malley born?
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Where was Walter O'Malley born?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
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"Gerald Joseph O'Malley (25 November 1927 – 16 November 2018) was a Canadian politician. He represented the electoral district of Halifax Needham in the Nova Scotia House of Assembly from 1988 to 1998, as a member of the Liberals.\n\nAn avid educational advocate, O’Malley worked at Nova Scotia Community College as a principal before entering politics. He sat in the Nova Scotia Assembly for a decade and became the minister of supply and services and then minister of science and technology under the premier, John Savage.\n\nEarly life\nO'Malley was born in Halifax in 1927 to Michael O'Malley and Mary Brackett. He was educated at Saint Mary's University, originally wanting to be an electrician. He was in the Royal Canadian Air Force, retiring in 1967.\n\nAn avid educational advocate, O'Malley was a vocational teacher and later a principal at the Akerley campus of the Nova Scotia Community College in Halifax.\n\nCareer\nIn 1980, O'Malley was elected to Halifax City Council, where he was deputy mayor in 1984.\n\nO'Malley entered provincial politics in the 1988 election, defeating New Democrat Maureen MacDonald by 776 votes in the Halifax Needham riding. He was re-elected in the 1993 election, defeating his New Democrat opponent by 972 votes. He served as a backbench member of John Savage's government until March 1995, when he was appointed to the Executive Council of Nova Scotia as Minister of Supply and Services.\n\nIn March 1996, O'Malley was shuffled to minister of science and technology. When Russell MacLellan was sworn-in as premier in July 1997, O'Malley was moved to minister of labour.\n\nO’Malley was moved to the labour portfolio, where he brought in safety training changes in the wake of the Westray mining disaster that resulted in 26 deaths. During his time as minister of supply and services, O'Malley once faced public criticism and outcry when he was in Sydney to announce the plan to cap the tar ponds. Protesters forced him to cut short the event and he was escorted out of the room due to security concerns as the protests intensified.\n\nDespite indications he might retire, O'Malley ran for re-election in 1998, but was defeated by New Democrat Maureen MacDonald by over 2,300 votes.\n\nPersonal life\nO'Malley married Marie Elizabeth Langan in 1963. They had four children. He continued to live in Nova Scotia until his death at his Halifax home on 16 November 2018, nine days before his 91st birthday.\n\nReferences\n\n1927 births\nMembers of the Executive Council of Nova Scotia\nNova Scotia Liberal Party MLAs\n2018 deaths\nNova Scotia municipal councillors\nPeople from Halifax, Nova Scotia\nSaint Mary's University (Halifax) alumni",
"Charles Conor O'Malley, BSc, MB., DOMS, KM., was an Irish eye surgeon, writer, and Chief of the Name, 1889–1982.\n\nO'Malley was born in Joyce County in Connemara, in County Galway, Ireland. He was a member of the Kilmilkin O'Malley family. He graduated in Medicine from University College Galway (UCG) in 1917. His first appointment was Surgeon Lt. on HMS Furious, and later with the Royal Air Force during World War I. He undertook postgraduate training in ophthalmology in Moorfields Hospital, London. In the 1920s he began his civilian medical practice in Gort, County Galway. In 1927 he visited to India where he studied the then novel method of intra-capsular cataract extraction cataracts under Dr Mathra Das Pawha at Moga Clinic in the Punjab. Dr O'Malley provided a report of 220 intra-capsular cataract operations he undertook when in Moga. This clinical audit was published in the British Journal of Ophthalmology in March 1931.\n\nIn 1931 he was appointed Professor of Ophthalmology and Otology in UCG in Galway. His elder brother Michael O'Malley was Professor of Surgery there from 1924 to 1956. His wife Sarah Joyce O'Malley was Consultant Anaesthetist in the hospital. He undertook clinical practice at the former Central Hospital, Galway (later termed the Regional Hospital Galway) and now known as University College Hospital Galway. The Sal and Conor O'Malley Prize is awarded annually to the undergraduate who attains the highest marks in ophthalmology at the summer MB Degree Examination at UCG.\n\nO'Malley's professional publications in ophthalmology were written while he was at UCG. He undertook private practice from his consulting rooms at No 6, The Crescent, Galway and St Bride's Nursing, Sea Road, Galway.\n\nO'Malley founded the first unit of the Order of Malta Ambulance Corps in Ireland in 1938 and later became a member of the Sovereign Military Order of Malta.\n\nConor and Sal O'Malley had three daughters (Grace O' Hara, Joan Ringrose and Ann Kelly). His two sons, Patrick O'Malley and Conor C. O'Malley (1930-2012), graduated in Medicine from UCG. Both became leading ophthalmologists in the USA and contributed technical developments in retinal surgery (O'Malley Xenon Photocoagulator) and vitreous surgery (Ocutome Vitrector). A grandson, Simon P Kelly (born 1956), also graduated in Medicine from UCG and is an Ophthalmic Surgeon and Retinal Specialist at the Royal Bolton Hospital, England. A nephew, Ronal E. O'Malley, also graduated in Medicine from UCG and is an Ophthalmic Surgeon and Retinal Specialist in Houston, Texas in the United States.\n\nIn his retirement, Conor O'Malley became absorbed in the history of the Ó Máille clan, and such of its figures as Grace O'Malley (c. 1530 – c. 1603). He was elected Chief of the O'Malley's, and became a Guardian Chief, a lifetime honour. His daughter Ann later served as Guardian Chief of the Clan.\n\nO'Malley was a keen golfer and fresh water angler. In 1976 he published a book, With a Fishing Rod in Ireland.\n\nSee also\n\n Shelia Mulloy\n\nSelect bibliography\n\n With a Fishing Rod in Ireland, New York, 1975\n\nReferences\n\n Bearna agus Na Forbacha:A Local History, ed. Tom Kenny, Shantalla, Galway, 1983\n O'Malley:People and Places, Ballinakella Press, 1986.\n\nExternal links\n https://web.archive.org/web/20110201185927/http://omalleyclanireland.com/\n\nPeople from County Galway"
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"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx"
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Who was his father?
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Who was Walter O'Malley's father?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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Edwin Joseph O'Malley
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| true |
[
"Glayton M. Modise (13 August 1940–9 February 2016) was the leader of one of Africa's mega churches, the International Pentecostal Holiness Church. Glayton was the only son of Frederick Samuel Modise (1914–1998) who founded the IPHC in 1962. After his father's death in 1998, Glayton took over the church until his death on 9 February 2016. Modise also was Co-consecrator of International Minister A. Louise Bonaparte of USA into the Office of Bishop.\n\nEarly life\nModise was born in Soweto, South Africa and initially was under the Zion Christian Church (ZCC) where his father was a minister. After his father received his calling in 1962 to start preaching the Gospel, Modise was one of the people who oversaw some of the smaller branches and the growth of the church. After his father died in 1998, the church grew exponentially.\n\nBeliefs\nModise claimed to have seen a vision from God, who instructed him to purchase a hill in Cape Town, South Africa and rename the hill Mount Zion. The hill, which was known as Blaauwberg Hill, was purchased for R100 million and was renamed Mount Zion. Glayton also continued his father's legacy of having a bursary scheme; the bursary scheme was known as FS Modise bursary scheme but was later renamed to FS Modise MG bursary scheme.\n\nReferences\n\n1940 births\n2016 deaths",
"Thihathura II of Ava (; February 1474 – 4 March 1501) was the joint-king of Ava who co-reigned with his father Minkhaung II for 15 years. When he was just six, his father ascended to the Ava throne and he was made heir-apparent. In 1485, the 11-year-old was made a co-regent. He lived in the same palace with his father, and displayed a white umbrella as a symbol of sovereignty. He co-ruled with his father for 15 years but died a month earlier than his father. Minkhaung, who faced numerous rebellions throughout his reign, made his son joint-king because he wanted to retain loyalty of his son. Minkhaung outlived his son, died in March 1501 and was succeeded by his younger son Shwenankyawshin (Narapati II).\n\nNotes\n\nReferences\n\nBibliography\n \n \n \n\nBurmese monarchs\nAva dynasty\n1474 births\n1501 deaths\n15th-century Burmese monarchs"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley"
] |
C_46e3100876574128b3d6b14c0f01a623_1
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What did his father do?
| 3 |
What did Walter O'Malley's father do?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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worked as a cotton goods salesman in the Bronx
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
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[
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)",
"Crow Foot (c. 1876 – December 15, 1890) was the son of Sitting Bull of the Lakota. \n\nHis mother was either Seen by Her Nation or Four Robes. He had sisters named Standing Holy and Lodge; he also had brothers named Henry, Little Soldier, Red Scout, and Theodore. He was a twin and was born just before the Battle of the Little Bighorn in 1876. He was named in honor of Crow Foot, the Blackfeet chief in Canada.\n\nCrow Foot was recalled in his father's obituary as \"'bright as a dollar with eyes that fairly snap like whips'\".\n\nHis father, who believed Indian children needed to learn to read and write, placed Crow Foot and his other children in a Congregational day school. Crow Foot was reportedly Sitting Bull's favorite son.\n\nCrow Foot was said to be \"a solemn youth of seventeen\" who \"displayed a wisdom remarkable for one so young\". According to Robert Higheagle, \"Crow Foot was not like the rest of the boys. He did not get out and mingle with the boys and play their games. He grew old too early'\".\n\nIn 1881 he participated alongside his father in the surrender at Fort Buford, handing his father's Winchester rifle to Major Brotherton. \n\nCrow Foot was killed along with his father on December 15, 1890, by a group of Indian agents. One of the police later reported that Crow Foot told his father, \"You always called yourself a brave chief. Now you are allowing yourself to be taken by the Ceska maza\" (police). The first military and police chronicles of the arrest do not mention Crow Foot saying this. \n\nLone Man found him hiding in a pile of blankets. Crow Foot said, \"'My uncles, do not kill me. I do not wish to die'\". Some sources say that the policemen killed him at the instruction of dying Bull Head, who said, \"Do what you like with him. He is one of them that has caused this trouble\". Other sources state that Bull Head said he didn't care what they did.\n\nLone Man \"smashed Crow Foot across the forehead with a rifle butt, which sent him reeling across the room and out the door. There Lone Man and two others, tears streaming down their cheeks, pumped bullets into him.\"\n\nFurther reading \n\n Vestal, Stanley. Sitting Bull, Champion of the Sioux. Houghton Mifflin, 1932.\n\nReferences \n\n1870s births\n1890 deaths\nLakota people\nMurdered Native American people\nPeople murdered in South Dakota\nYear of birth uncertain\n19th-century Native Americans"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx"
] |
C_46e3100876574128b3d6b14c0f01a623_1
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Who was his mother?
| 4 |
Who was Walter O'Malley's mother?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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Alma Feltner
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
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"Kamaanya Kadduwamala was Kabaka of the Kingdom of Buganda from 1814 until 1832. He was the twenty-eighth (28th) Kabaka of Buganda.\n\nClaim to the throne\nHe was the eldest son of Kabaka Semakookiro Wasajja Nabbunga, Kabaka of Buganda, who reigned between 1797 and 1814. His mother was Abakyala Nansikombi Ndwadd'ewazibwa, the Kaddulubaale, of the Nseenene (Grasshopper) Clan. She was his father's first wife. His father married at least fifteen wives. He ascended to the throne upon the death of his father in 1814, assuming the name of Kamaanya. He established his capital at Nsujjumpolu.\n\nMarried life\nLike his father, Kabaka Kamaanya had many wives. He is recorded to have married at least thirty eight (38) wives:\n\n Baakuyiira, daughter of Lule, of the Ngonge clan\n Basiima Mukooki, daughter of Kateesigwa, of the Nkima clan\n Gwowemukira\n Kayaga, daughter of Kiwaalabye, of the Kkobe clan\n Kisirisa, daughter of Walusimbi, of the Ffumbe clan\n Naabakyaala Saamanya, the Kaddulubaale, daughter of Walusimbi, of the Ffumbe clan. She was killed on the orders of her husband.\n Ky'osiby'omunyolo, daughter of Jjumba, of the Nkima clan\n Kyot'owadde, daughter of Kiyaga, of the Mamba clan\n Kyowol'otudde, daughter of Lutalo, of the Ndiga clan\n Lubadde, daughter of Majanja, of the Ngeye clan\n Mpozaaki, daughter of Kateesigwa, of the Nkima clan\n Mubyuwo?, daughter of Nakatanza, of the Lugave clan\n Muteezi, daughter of Nakato, of the Mbogo clan\n Mukwaano, daughter of Mugema, of the Nkima clan\n Nambi, daughter of Lutaaya, of the Ngonge clan\n Naabakyaala Nabikuku, the Kabejja, daughter of Jjumba, of the Nkima clan\n Nabirumbi, daughter of Kisuule of Busoga, of the Ngabi (Reedbuck) clan\n Nabiswaazi, daughter of Jjumba, of the Nkima clan\n Nabyonga, daughter of Mwamba?, of the Lugave clan\n Nabbowa, daughter of Kafumbirwango, of the Lugave clan\n Nakaddu, daughter of Kamyuuka, of the Kkobe clan\n Nakanyike, daughter of Senfuma, of the Mamba clan\n Nakkazi Kannyange, daughter of Ssambwa Katenda, of the Mamba clan\n Nakkazi, daughter of Lutalo, of the Mamba clan\n Nakku, daughter of Walusimbi, of the Ffumbe clan\n Nakyekoledde, daughter of Gabunga, of the Mamba clan\n Nalumansi, daughter of Walusimbi, of the Ffumbe clan\n Namale, daughter of Kiwalabye, of the Kkobe clan\n Namukasa, daughter of Nankere, of the Mamba clan\n Namawuba, daughter of Sempala, of the Ffumbe clan\n Nambi Tebasaanidde, daughter of Mugula, of the Mamba clan\n Namwenyagira, daughter of Kamyuuka, of the Kkobe clan\n Nannozi, daughter of Gomottoka, of the Nvubu clan\n Nankanja, daughter of Terwewalwa, of the Nvubu clan\n Nzaalambi, daughter of Natiigo, of the Lugave clan\n Siribatwaalira, of the Nkima clan\n Tebeemalizibwa, daughter of Mwamba?, of the Lugave clan\n Nanteza\n\nIssue\nHe is recorded to have fathered sixty one (61) sons and several daughters. His son Suuna II, executed fifty eight (58) of his brothers during his reign. The children of Kabaka Kamaanya included:\n\n Prince (Omulangira) Kiggala I, whose mother was Baakuyiira\n Prince (Omulangira) Nakibinge Bawuunyakangu, whose mother was Saamanya. He was killed by being burned alive, on the orders of his father at Busonyi, Busujju County.\n Prince (Omulangira) Kimera, whose mother was Gwowemukira\n Prince (Omulangira) Ndawula, whose mother was Gwowemukira\n Prince (Omulangira) Lule, whose mother was Gwowemukira\n Prince (Omulangira) Kiggala II, whose mother was Gwowemukira\n Prince (Omulangira) Kitereera, whose mother was Gwowemukira\n Princess (Omumbejja) Babirye, whose mother was Kayaga. Twin with Princess Nakato\n Princess (Omumbejja) Nakato, whose mother was Kayaga. Twin with Princess Nakato\n Prince (Omulangira) Kaggwa, whose mother was Kisirisa\n Prince (Omulangira) Bagunyeenyamangu, whose mother was Saamanya\n Prince (Omulangira) Mbajjwe, whose mother was Ky'osiby'omunyolo).\n Prince (Omulangira) Bamweyana, whose mother was Kyootowadde\n Prince (Omulangira) Twaayise, whose mother was Mpozaaki\n Prince (Omulangira) Kyomubi, whose mother was Mukwaano\n Prince (Omulangira) Luwedde, whose mother was Nabiswaazi\n Prince (Omulangira) Kimera, whose mother was Nabbowa\n Prince (Omulangira) Lumansi, whose mother was Nakaddu\n Prince (Omulangira) Tebandeke, whose mother was Nakanyike\n Prince (Omulangira) Suuna Kalema Kansinjo, who succeeded as Kabaka Suuna II Kalema Kansinjo Mukaabya Ssekkyungwa Muteesa I Sewankambo Walugembe Mig'ekyaamye Lukeberwa Kyetutumula Magulunnyondo Lubambula Omutanda Sseggwanga, whose mother was Nakkazi Kannyange\n Prince (Omulangira) Wasajja, whose mother was Nakkazi. He escaped the slaughter of the princes by his brother, Suuna II.\n Prince (Omulangira) Ndawula, whose mother was Nakyekoledde\n Prince (Omulangira) Mutebi, whose mother was Nakyekoledde\n Prince (Omulangira) Mugogo, whose mother was Kyotowadde. He too, escaped the slaughter of the princes by his brother, Suuna II.\n Prince (Omulangira) Kigoye, whose mother was Namale\n Princess (Omumbejja) Ndagire I, whose mother was Namukasa\n Prince (Omulangira) Waswa, whose mother was Nambi Tebasaanidde. Twin with Babirye.\n Princess (Omumbejja) Babirye, whose mother was Nambi Tebasaanidde. Twin with Babirye\n Prince (Omulangira) Kajumba, whose mother was Nambi Tebasaanidde\n Princess (Omumbejja) Ndagire II, whose mother was Nannozi\n Prince (Omulangira) Kizza, whose mother was Nzaalambi\n Princess (Omumbejja) Tajuba, whose mother was Lubadde. She died after 1927.\n Princess (Omumbejja) Nassolo, whose mother Mubyuwo?\n Princess (Omumbejja) Nambi, whose mother was Muteezi\n Princess (Omumbejja) Nakayenga, whose mother was Kyowol'otudde\n Princess (Omumbejja) Namayanja, whose mother was Lubadde\n Princess (Omumbejja) Nabaloga, whose mother was Mpozaaki\n Princess (Omumbejja) Kagere, whose mother was Mubyuwo\n Princess (Omumbejja) Mwannyin'empologoma Nassolo, whose mother was Nabikuku\n Princess (Omumbejja) Nalumansi, whose mother was Nabirumbi\n Princess (Omumbejja) Nakku, whose mother was Nabyonga\n Princess (Omumbejja) Nakalema, whose mother was Nalumansi\n Princess (Omumbejja) Nakangu, whose mother was Nambi\n Princess (Omumbejja) Namika, whose mother was Nakaddu\n Princess (Omumbejja) Nakabiri, whose mother was Namwenyagira\n Princess (Omumbejja) Katalina Nabisubi Mpalikitenda Nakayenga, whose mother was Siribatwaalira. She was born around 1814. She died on 27 January 1907.\n Princess (Omumbejja) Lwantale, whose mother was Siribatwaalira. She was the Naalinnya to Kabaka Suuna II. She died in March 1881.\n Princess (Omumbejja) Nagaddya, whose mother was Tebeemalizibwa\n Princess (Omumbejja) Nassuuna Kyetenga, whose mother was Nankanja\n\nHis reign\nKabaka Kamaanya continued the wars of conquest against the Kingdom's neighbors which led to an expansion of the territory of the Buganda Kingdom. He conquered the ssaza, Buweekula, from Bunyoro and annexed it to Buganda.\n\nThe final years\nKabaka Kamaanya died at Lutengo in 1832. He was buried at Kasengejje, Busiro.\n\nQuotes\nIt is claimed that Kamanya’s original name was Kanakulya Mukasa. But because he was such a tyrant, his contemporaries began to refer to a person of uncontrollable temper with a persecution mania (and indirectly to the king) as a kamanya.\n MM Semakula Kiwanuka, A History of Buganda, 1971\n\nSuccession table\n\nSee also\n Kabaka of Buganda\n\nReferences\n\nExternal links\nList of the Kings of Buganda\n\nKabakas of Buganda\n19th-century monarchs in Africa\n1832 deaths\nYear of birth unknown",
"Mutebi I was Kabaka of the Kingdom of Buganda between 1674 and 1680. He was the fifteenth (15th) Kabaka of Buganda.\n\nClaim to the throne\nHe was the son of Kabaka Kateregga Kamegere, Kabaka of Buganda, who reigned between 1644 and 1674. His mother was Namutebi of the Mamba clan, the eighth (8th) wife of his father. He ascended the throne following the death of his father in 1674. He established his capital at Muguluka.\n\nMarried Life\nHe married five (5) wives:\n Nabitalo, daughter of Walusimbi, of the Ffumbe clan\n Nabukalu, daughter of Ndugwa, of the Lugave clan\n Naluyima, daughter of Nakatanza, of the Lugave clan\n Namawuba, daughter of Natiigo, of the Lugave clan\n Nampiima, daughter of Kibale, of the Mpeewo clan.\n\nIssue\nHe fathered seven (7) sons:\n Prince (Omulangira) Lukenge, whose mother was Nabitalo\n Kabaka Tebandeke Mujambula, Kabaka of Buganda, who reigned between 1704 and 1724, whose mother was Nabukalu\n Prince (Omulangira) Mpiima, whose mother was Nampiima\n Prince (Omulangira) Kayima, whose mother was Naluyima\n Prince (Omulangira) Mawuba, whose mother was Namawuba\n Prince (Omulangira) Mukama, whose mother was Namawuba\n Prince (Omulangira) Matumbwe, whose mother was Namawuba\n\nThe final years\nHe died at Mbalwa and was buried there. Other credible sources put his burial place at Kongojje, Busiro.\n\nSuccession table\n\nSee also\n Kabaka of Buganda\n\nReferences\n\nExternal links\nList of the Kings of Buganda\n\nKabakas of Buganda\n17th-century African people\n1680 deaths"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner"
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What did his mother do?
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What did Walter O'Malley's mother do?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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CANNOTANSWER
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| false |
[
"The saying of Jesus concerning his true relatives is found in the Canonical gospels of Mark and Matthew.\n\nIn the Bible\nFrom :\n There came then his brethren and his mother, and, standing\n without, sent unto him, calling him. \nAnd the multitude sat about him, and they said unto him,\n Behold, thy mother and thy brethren without seek for thee. \nAnd he answered them, saying, Who is my mother, or my\n brethren? \nAnd he looked round about on them which sat about him, and\n said, Behold my mother and my brethren! \nFor whosoever shall do the will of God, the same is my\n brother, and my sister, and mother. \n\nFrom :\n While he yet talked to the people, behold, his mother and\n his brethren stood without, desiring to speak with him. \nThen one said unto him, Behold, thy mother and thy brethren\n stand without, desiring to speak with thee. \nBut he answered and said unto him that told him, Who is my\n mother? and who are my brethren? \nAnd he stretched forth his hand toward his disciples, and\n said, Behold my mother and my brethren! \nFor whosoever shall do the will of my Father which is in\n heaven, the same is my brother, and sister, and mother.\n\nApocryphal version\nA re-organized version also appears in the Gospel of Thomas (Patterson-Meyer Translation):\n 99 The disciples said to him, \"Your brothers and your mother are\n standing outside.\" He said to them, \"Those here who do what my\n Father wants are my brothers and my mother. They are the ones who\n will enter my Father's kingdom.\" \n 100 They showed Jesus a gold coin and said to him, \"The Roman\n emperor's people demand taxes from us.\" He said to them, \"Give the\n emperor what belongs to the emperor, give God what belongs to God,\n and give me what is mine.\" \n 101 \"Whoever does not hate [father] and mother as I do cannot be\n my [disciple], and whoever does [not] love [father and] mother as\n I do cannot be my [disciple]. For my mother [...], but my true\n [mother] gave me life.\" \n\nVerse 100 (Caesar's Coin) is similar to Mark 12:13-17 and Luke 20.22-26. Verse 101 (Love Jesus/God more than your family) is similar to and .\n\nSayings of Jesus\nGospel episodes",
"Heartbeat () is a 2010 South Korean film about human organ trade. The film revolves around Yeon-hee, a widow hoping for a heart transplant for her daughter. When she hears that Hwi-do's mother had a traumatic fall and is now brain-dead, Yeon-hee eagerly attempts to purchase the heart. But Hwi-do refuses until he can find out more about what led to the fall.\n\nStarring Kim Yunjin and Park Hae-il in the lead roles, it is the directorial debut of Yoon Jae-keun, who previously wrote Hello, Schoolgirl (2008). The film had a total of 1,032,942 admissions nationwide.\n\nPlot\nYeon-hee (Kim Yunjin) is the principal of a prestigious English-teaching preschool in Gangnam. She is a well-off widow, and a devout Christian. Yeon-hee remains hopeful in her faith that her daughter Ye-eun will be able to get a heart transplant surgery.\n\nBut Yeon-hee has hired black-market organ dealers to search a healthy heart for her daughter. One donor is a live illegal immigrant, and Yeon-hee cannot bring herself to take his life in exchange for sending money to his family abroad. Time after time, the donors slip through her hands. Tired of waiting, Yeon-hee takes matters into her own hands, and betrays her conscience. She pays an exorbitant amount of money to arrange a transplant: the donor is a patient in a persistent vegetative state, and thus unable to consent.\n\nYeon-hee rationalizes to her doctor friend that the vegetative patient is an answered prayer and pleads him to perform the transplant. Out of her guilt, Yeon-hee monologues to the patient, and cries that she would even go to hell for the illegal surgery, if it could save her little Ye-eun.\n\nWhen the time nears for her daughter's heart transplant surgery, Lee Hwi-do (Park Hae-il), the son of the woman in the vegetative state, suddenly appears to stop the transplant. In the past, Hwi-do was a bad son often leeching money off of his mother. He parted ways with his mother, but when he learns of the current situation he tries to protect his mother. With only a single heart, Yeon-hee and Hwi-do are both desperate to save the one they love. Just when Yeon-hee is about to carry the patient in an ambulance, Hwi-do shows up and gets into the ambulance with them. During the ride, he confiscates the transplant contracts from Yeon-hee (signed by Kang, who dated Hwi-do's mother for money), and takes over the driver's seat. Yeon-hee runs after the ambulance, but it is gone.\n\nHwi-do brings his mother to a hospital, but Yeon-hee tracks down the hospital. Hwi-do and his girlfriend visit Ye-eun's hospital room to take Ye-eun captive. Hwi-do decides that he won't abduct Ye-eun, until Yeon-hee calls him that she is sorry for taking his mother. He then kidnaps Ye-eun, of which Yeon-hee's doctor friend notifies Yeon-hee about.\n\nYe-eun records a conversation on her teddy bear while telling Hwi-do that her mother is not a bad person. Hwi-do and his girlfriend form a friendship with Ye-eun. Still, Ye-eun uses the girlfriend's cellphone to text Yeon-hee the consonants of the location of Hwi-do's auto repair shop.\n\nYeon-hee receives the text, and discovers Hwi-do's place. She tases Kang and offers Hwi-do an exchange of persons, which Hwi-do refuses. Hwi-do locks Ye-eun in his car and Yeon-hee keeps his mother in her van. Yeon-hee ambushes Hwi-do and beats him up with a plank from the street, while the organ dealers hired by Yeon-hee help carry Ye-eun to the van. Hwi-do and his girlfriend watch them drive off.\n\nInjured, Hwi-do limps to the hospital, to beat up Yeon-hee. Meanwhile, Yeon-hee rushes Ye-eun to the emergency room. Ye-eun tells her on the rolling cot, \"Why did you hit someone like that? What if he died? I'm scared of you, Mom...\"\nYeon-hee becomes weak in the knees and reflects. Hwi-do arrives and finds Yeon-hee sobbing and listening to the audio recorded by the teddy bear. Yeon-hee repents. She apologizes to Hwi-do and tells him that his mother would have done the same thing as she did, and that he should take his mother home.\n\nHwi-do then finds his mother, and asks her to move her hand. But her heartbeat fails. Yeon-hee weeps with him, and Hwi-do tells Yeon-hee that his mother wishes the transplant to happen.\n\nMonths later, during Christmas Eve, Yeon-hee and a healthy Ye-eun are in a car on the way to a restaurant. Ye-eun says that the car seems weird, and needs to be checked out. They arrive at Hwi-do's auto shop, where Ye-eun gives her teddy bear as a present to Hwi-do's now-pregnant girlfriend. Hwi-do invites Yeon-hee for dinner. Yeon-hee quietly goes into the back of the shop and smiles at the picture of Hwi-do's mother.\n\nCast\nYunjin Kim as Chae Yeon-hee (a single mother who risks everything to save her daughter)\nPark Hae-il as Lee Hwi-do (a gangster and loan shark who has an estranged relationship with his mother)\nJung Da-hye as Na Soo-young (Hwi-do's girlfriend)\nPark Ha-young as Chae Ye-eun\nKim Sang-ho as Team leader Jo\nKang Shin-il as Director Choi\nKeum Dong-hyun as President of village organization\nJoo Jin-mo as President Kang (Hwi-do's stepfather)\nKim Min-kyung as Ahn Sook-hee (Hwi-do's mother)\nLee Seung-jun as Teacher Moon\nJeon Bae-su as Section chief Park\nHeo Hyeon-hwa as Yoon-ji's mother\nJo Ki-bbeum as Head nurse at Chungdam Hospital\nLee Han-wi as Tuning shop owner\nKang Hae-in as Hyun-joo\nLee Hee-joon as Pharmacist\nKim Young-hoon as Yeon-hee's husband\nKim Young-sun as Cleaning lady\nSeung Hyo-bin as Jogging girl\t\nOh Seung-ah as Girl group member\n\nReferences\n\nExternal links\n \n Heartbeat at Naver \n \n \n \n \n\nSouth Korean films\n2010 films\nSouth Korean drama films\nFilms about organ trafficking\nLotte Entertainment films\n2010 drama films"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know."
] |
C_46e3100876574128b3d6b14c0f01a623_1
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How did he get interested in baseball?
| 6 |
How did Walter O'Malley get interested in baseball?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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He frequently attended Giants games at the Polo Grounds with his uncle Clarence.
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
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[
"Robert Leon Berman (January 24, 1899 – August 2, 1988) was a Major League Baseball catcher who played in two games for the Washington Senators in . He did not get an at bat in his short major league career, but did make two putouts as a catcher. He was Jewish. He attended Fordham University.\n\nReferences\n\nExternal links\n\n1899 births\n1988 deaths\nFordham University alumni\nWashington Senators (1901–1960) players\nMajor League Baseball catchers\nBaseball players from New York (state)\nJewish American baseball players\nJewish Major League Baseball players\n20th-century American Jews",
"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"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know.",
"How did he get interested in baseball?",
"He frequently attended Giants games at the Polo Grounds with his uncle Clarence."
] |
C_46e3100876574128b3d6b14c0f01a623_1
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Where did he attend school?
| 7 |
Where did Walter O'Malley attend school?
|
Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| true |
[
"Ben Ivery Wilson (born March 9, 1939) is a former professional American football fullback in the National Football League.\n\nHigh school\nWilson attended Aldine Carver High School where he played football and was also the state champ in the shot put. While at Carver, he was a Jones scholar who was offered an academic scholarship to attend the University of Cincinnati, but he wanted to play football. Although he was an exceptional football player, he did not receive a scholarship offer from any white college in Texas because of segregation.\n\nCollege career\nThe superintendent of Wilson's high school had contacts at USC and Wilson received a scholarship to attend USC. While at USC, Wilson became the starting fullback and team captain of USC's 1962 national championship team.\n\nProfessional career\nWilson played running back for five seasons in the NFL. He was traded from the Los Angeles Rams to the Green Bay Packers prior to the 1967 season. Wilson started at fullback in Super Bowl II for Green Bay and led both teams in rushing with 62 yards in 17 carries. Late in the game he lost a contact lens on the sidelines after being tackled, and missed the rest of the game.\n\nReferences\n\nExternal links\n NFL.com player page\n\n1939 births\nLiving people\nAmerican football running backs\nGreen Bay Packers players\nLos Angeles Rams players\nUSC Trojans football players\nPlayers of American football from Houston",
"Indiana has some of the most segregated schools in the United States. Despite laws demanding school integration since 1949, a 2017 study by the UCLA Civil Rights Project and Indiana University found that Indiana still has significant segregation in its classrooms.\n\nThe average black student in Indiana is likely to attend a school where 68% of the students are non-white. The average white student is likely to attend a school where 81% of the students are white.\n\nHistory\nIndiana became a state in 1816. In 1843 the Legislature stated that the public schools were only for white children between the ages of 5 and 21, and as a result, Quakers and communities of free Black people founded schools like Union Literary Institute for Black students to attend. In 1869, the legislature authorized separate but equal public schools for black children. In 1877, the legislature revised the law to allow black attendance at a white school if a black school was not nearby. Home rule for municipalities meant that application was uneven. Plessy v. Ferguson (1896) legitimized separate but equal as policy. During the 1920's, Indiana became a major base for the Ku Klux Klan further pushing Black residents away from school districts that had a majority white population. Prominent examples of segregated high schools in Indiana in the early 20th Century were Crispus Attucks High School in Indianapolis (opened in 1927) and Theodore Roosevelt High School in Gary (accredited in 1930). In 1946, the Gary School Board issued a non-discriminatory policy. Because neighborhoods had different demographic characteristics, the schools there remained effectively segregated. In 1949, the state adopted language that was unambiguously in favor of integration. It was the last of the northern (non-Confederate) states to do so.\n\nAfter Brown v. Board of Education, the state still needed a legal push. Bell v. School City of Gary (1963) was the first. Three years later came Copeland v. South Bend Community School Corporation (1967). Three years after that came Banks v. Muncie Community Schools (1970). National policy came the next year in Swann v. Charlotte-Mecklenburg Board of Education (1971), which relied on the Civil Rights Act of 1964.\n\nIn the 1970s, the federal answer was court-ordered busing. In Indianapolis, busing began in 1981. The bussing requirements in Indiana however were uneven, they did not require white children to be bussed out Black schools making Black children and parents face most of the consequences of the bussing program. Busing in Indianapolis ended in 2016.\n\nDemographics\nHoosiers describe themselves as being more white than much of the rest of the country. In the 2010 Census, 84.4% reported being white, compared with 73.8 for the nation as a whole.\n\nIndiana had never been a big slave state. The 1840 Census reported three slaves and 11,262 “free colored” persons out of a population of 685,866. By 1850, no slaves were reported. That is not to say that the state was welcoming to blacks. The 1851 state constitution said, \"No Negro or mulatto shall come into or settle in the State, after the adoption of this Constitution.” In the early 20th century, mechanization of agriculture in the South stimulated immigration of blacks to large cities like Indianapolis. Migration accelerated in World War II, slowing only in the 1970s. Simultaneously, whites began to move out of the downtown areas to suburbs. \n\nLatinos were a small portion of Indiana's population prior to 1970. In any case the Census did not reliably track Latinos before the 1970 Census. The 2000 Census described 3.5% of Indiana's population as Latino. In the next decade, the state's Latino population grew at twice the national rate. In 2010, the state was 6.0% Latino. They have settled more-or-less evenly distributed across the state.\n\nSchool demographics\nThe demographics of schools in Indiana reflect the composition of the communities in which they are located. The average white student in Indiana is likely to attend a school where 81% of the students are white. The average black student is likely to attend a school where 68% of the students are non-white.\n\nStudies\nSince 1996, the relative segregation of classrooms across the United States has been studied by the Civil Rights Project at Harvard until 2007 and subsequently at the Graduate School of Education and Information Studies at UCLA. In 2017, the Project cooperated to with Indiana University to study the conditions in the state.\n\nA 2012 UCLA study showed that Indiana had the sixth most segregated classrooms in America.\n\nSchool vouchers\nIndiana has one of the largest school voucher programs in the United States. Critics contend that vouchers contribute to school segregation. Analysis of two recent studies on vouchers garner mixed support for contributing to segregation; however, both contend that black recipients who had been in a majority-black public school used school vouchers to attend a majority-black private school.\n\nReferences \n\nEducation in Indiana\nAfrican-American history of Indiana\nSchool segregation in the United States"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know.",
"How did he get interested in baseball?",
"He frequently attended Giants games at the Polo Grounds with his uncle Clarence.",
"Where did he attend school?",
"O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy"
] |
C_46e3100876574128b3d6b14c0f01a623_1
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Was Culver Academy in Queens also?
| 8 |
Was Culver Academy in Queens also?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana.
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| true |
[
"Helen Culver (1832–1925) was a successful real estate developer and philanthropist. She owned Hull House and rented it to Jane Addams, before later giving the property to Addams along with hundreds of thousands of dollars of donations, contributing substantially to founding the comprehensive settlement house movement in the United States. She was a trustee of Hull House until 1898.\n\nEarly life \nCulver was born in Little Valley, New York on March 3, 1832. She was the youngest of the four children of Lyman and Emeliza (Hull) Culver. Lyman Culver was a farmer and bought, cleared, and sold land. In 1838, Emeliza Culver died, and Helen Culver and her siblings were cared for by Lyman Culver's sisters until he remarried. Culver attended local schools and began teaching at a country school at age 14. She also enrolled in the Randolph Academy and Female Seminary in Randolph, New York. Her studies were interrupted when Lyman Culver suddenly died from Typhoid fever in 1852. His estate was bequeathed to his widow and two children from his second marriage. As a result, Helen Culver had to earn her own living at age 20.\n\nCareer \nCulver graduated from Randolph Academy in 1852. Following graduation, Culver moved west with her brother Robert, settling near their grandfather in DeKalb, Illinois. In 1853, she started a private school in Sycamore, Illinois in an abandoned schoolhouse, and she also taught at the Dow Academy. In 1854, Culver relocated to Chicago, and from 1854-1861 she served as teacher and principal in various Chicago schools. In this period, Culver developed her relationship with her cousin, Charles Jerold Hull, a real estate businessman. After Hull's wife, Melicent, died in 1860, Culver left public education to care for and teach Hull's son, Charles, and daughter, Fredrika.\n\nDuring the American Civil War, Culver served as a nurse under the United States Sanitary Commission. After the Battle of Stones River, Culver was stationed near Murfreesboro, Tennessee and was put in charge of a one-room, forty-bed hospital. After the war, Culver returned to Chicago and the Hull family.\n\nFrom 1868 to 1889 Culver worked with her cousin, Charles Hull, in his real estate ventures in Chicago and around the country, including Atlanta and Jacksonville, Florida. When Hull died in 1889, Culver inherited the real estate business.\n\nPhilanthropy \nBesides backing Jane Addams, Culver supported several other important scholarly causes, such as giving over $1.1 million to the University of Chicago, making her one of the University's most important early donors. In 1906 she gave $50,000 to William I. Thomas to fund a study of The Polish Peasant in Europe and America.\n\nCulver died in 1925.\n\nReferences\n\nExternal links \n Helen Culver's letter to Jane Addams, October 19, 1920\n\n1832 births\n1925 deaths\nPeople from Cattaraugus County, New York\nAmerican real estate businesspeople\nAmerican philanthropists\nSettlement houses\nAmerican notaries\nPhilanthropists from New York (state)\nBusinesspeople from New York (state)\n19th-century American businesspeople\n19th-century American educators\n19th-century American businesswomen",
"Culver Academies is a college preparatory boarding school located in Culver, Indiana, which is composed of three entities: Culver Military Academy (CMA) for boys, Culver Girls Academy (CGA), and the Culver Summer Schools and Camps (CSSC). Culver Military Academy was founded in 1894 by Henry Harrison Culver.\n\nFacilities\n\nThe Eugene C. Eppley Foundation donated the funds for three classroom buildings that comprise the Gignilliat Memorial Quadrangle. Eppley Auditorium, built in 1959, seats 1,492 people. The new Steinbrenner Performing Arts Center consists of a scene shop, dance studio, and private dance studio.\n\nCulver Academies was expanded with the addition of the 47,000 sq. ft. Huffington Library on October 1, 1993. The building provides a southern terminus to the academic quadrangle while affording library patrons a view of Lake Maxinkuckee. It houses a collection of approximately 55,000 volumes and the academies' information technology resources.\n\nHenderson Arena is home to Culver Military Academy and Culver Girls Academy hockey teams.\n\nOn October 5, 2012, Culver dedicated the White-Devries Rowing Center for the men's and women's crew teams.\n\nNotable alumni and faculty\n\nSee also\nSkyland Camp-Bowman Lake Ranger Station in Glacier National Park, built by the Culver Military Academy\nDelmar T. Spivey, superintendent, 1956–1967 \nList of high schools in Indiana\n\nNotes\n\nExternal links\nOfficial website\nThe Association of Boarding Schools profile\n\nBoarding schools in Indiana\nEducational institutions established in 1894\nMilitary high schools in the United States\nPrivate high schools in Indiana\nSchools in Marshall County, Indiana\nSummer camps in Indiana\nPreparatory schools in Indiana\n1894 establishments in Indiana"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know.",
"How did he get interested in baseball?",
"He frequently attended Giants games at the Polo Grounds with his uncle Clarence.",
"Where did he attend school?",
"O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy",
"Was Culver Academy in Queens also?",
"Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana."
] |
C_46e3100876574128b3d6b14c0f01a623_1
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When did he move to Indiana?
| 9 |
When did Walter O'Malley move to Indiana?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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in Queens from 1918 to 1920 and then the Culver Academy
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
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[
"On February 10, 2016, Carrier Air Conditioner, a division of United Technologies, announced that it was moving its manufacturing operations to Mexico. A cellphone video shot by an employee and posted on YouTube rapidly went viral, making this particular plant closing a national news story, after which Donald Trump made the company's decision to move to Mexico, \"a centerpiece of his stump speeches attacking free trade.\" The move played a role in the Donald Trump presidential campaign, 2016, as a symbol of his protectionist position on international trade, and a lesser role in the 2016 presidential campaign of Bernie Sanders.\n\nShortly after becoming President-elect, Trump and Vice-President elect Mike Pence announced a deal with Carrier to keep some of the manufacturing jobs in Indiana, while others would still move to Mexico, in exchange for large tax credits granted to the corporation.\n\nDecision to move production offshore\n\nOn February 10, 2016 Carrier announced its plans to move its manufacture of air conditioning equipment, now located in Indianapolis, Indiana, to Monterrey, Mexico in 2017. The move of the Indianapolis plant to Mexico was expected to result in the loss of 1,400 jobs in Indianapolis. \n\nA company representative announced the information to an assembly of workers. He said, “The best way to stay competitive and protect the business for long-term is to move production from our facility in Indianapolis to Monterrey, Mexico.” \n\nA cellphone video of a Carrier representative announcing the move was recorded by an employee and posted on YouTube; it quickly went viral. Introduced as part of a local news story, the video was posted on Facebook by LaKeisha Austin and picked up by Fox News, The Indianapolis Star and other news outlets on February 12. The slightly \"fuzzy\" footage, shot by an unidentified Carrier employee shows Carrier President Chris Nelson addressing employees assembled inside a Carrier plant. He tells that, \"I want to be clear, this is strictly a business decision,\" as \"agonized, collective cry goes up. People swear, shout and look away.\"\n\nAccording to Carol Rogers of the Indiana Business Research Center, the Carrier move drew national attention for reasons other than the video, in particular. the fact that 1,400 is an unusually large number of jobs to be terminate in a single offshoring event. The decision drew hundreds of protestors to Carrier's Indianapolis plant.\n\n2016 Presidential campaign\nAccording to The New York Times, three days after the Carrier announcement, Presidential candidate Donald Trump made the company's decision to move to Mexico, \"a centerpiece of his stump speeches attacking free trade.\" Carrier's move to Mexico quickly became a talking point in the 2016 presidential primary campaign as both Bernie Sanders and Donald Trump used the Carrier move to criticize existing trade policies. Democratic candidate Bernie Sanders called the Carrier move, \"another example of how NAFTA and other trade policies have been a disaster for American workers.\"\n\nDuring the February 13, 2016, Republican Presidential Primary Debate, Trump referenced the video, saying that if elected he would l impose a 35% tax on every air conditioner Carrier imports from Mexico. Trump used the Carrier move as \"a key talking point,\" during the campaign, telling the crowd gathered for a Trump for President rally in Dayton, Ohio that, \"I'm going to tell the head of Carrier: 'I hope you enjoy your stay in Mexico folks. But every single unit that you make and send across our border, which now will be real, you're going to pay a 35 percent tax.'\"\n\nThe Carrier firing video fueled popular anger over the offshoring of jobs that was reflected in the campaigns of both Sanders and Trump. Voters supporting both Sanders and Trump told The New York Times journalists that the loss of jobs caused by free trade policies was their #1 issue.\n\nFinancial journalists including David Dayen, and Lance Selfa have used the Carrier move to analyze the argument, made by Sanders and Trump, that the offshoring of manufacturing jobs hurts American workers.\n\nOthers focus on Trump's position. Dismissing Trump's argument as \"folk economics,\" Tim Worstall argues that moving production to low-wage countries like Mexico is good for Americans who can buy air conditioners more cheaply. Binyamin Appelbaum, writes that while the overwhelming majority of economists argue that importing goods manufactured by low-wage manufacturing work has been good for America because the balance of trade remains positive, economists have \"oversold their case,\" neglecting to encounter the reality that, \"trade has a downside, and while the benefits of trade are broadly distributed, the costs are often concentrated,\" borne by former factory workers. By contrast, Jim Cramer thinks Trump is correct when he asserts that trade deals lowering tariff barriers have devastated the American economy.\n\nReversal of decision to move to Mexico\nAlthough it was widely agreed that a reversal of the decision had appeared to be \"impossible,\" when Trump took the issue up during primary campaign season, In mid-November, shortly after being elected to the presidency, Trump called the CEO of United Technologies (owner of Carrier) and asked the CEO to keep operations in the US, stating that Trump's tax and regulatory policies meant Carrier would be \"printing money\". On November 24 Trump announced that he was \"making progress\" in persuading Carrier to reverse its decision; the company confirmed that it was discussion with the President elect and Vice President elect Mike Pence. On November 28, the CEO of United Technologies traveled to New York and met with Vice President-elect Pence at Trump Tower, where they reached a deal on state incentives. On November 29 Carrier announced that it would keep half of the 2,000 jobs it had planned to shift to Monterrey, Mexico in Indiana. Mike Pence, Governor of Indiana and Vice President elect was said to have taken the lead in negotiating with Carrier. On December 1, Trump and Pence visited the Carrier plant for a ceremony announcing the deal.\n\nActive negotiations of this kind by Presidents and Vice-Presidents elect are said to be highly unusual.\n\nDetails of the deal\nAs details emerged, it appeared that Carrier had agreed to keep one third of the 2,100 jobs it had planned to move to Mexico in Indiana in exchange for about $7 million in government subsidies over the course of 10 years. 800 jobs that Carrier had planned to move to Mexico will stay at the Indianapolis plant, while Carrier will move 600 from the Indianapolis plant to Mexico. However, United Technologies, the parent corporation of Carrier, will go ahead with plans to close a factory in Huntington, Indiana, that manufactures electronic controls, moving 700 jobs from Indiana to Mexico.\n\nThe deal also calls for a $16 million investment in the Indianapolis facility. Most of that money will be invested in automation said Greg Hayes, CEO of United Technologies, Carrier's corporate parent. And that automation will replace some of the jobs that were saved. In June 2017, union officials stated that Carrier planned to lay off about 600 employees in July and December 2017. One forklift driver who worked at Carrier for 14 years who did not lose his job in the June closings interviewed by NPR's Morning Edition said he would be bumped down to an assembly line position that was likely to be cut later: \"I'm not really optimistic that they're going to be around in another five years,\" said employee David Simmons. \"I mean, I hope I'm wrong, but I just don't see it. I mean, they've been threatening this - to go to Mexico - for at least 10 years.\"\n\nDavid A. Graham at The Atlantic saw the Carrier deal as an early indication that Trump may enact some campaign pledges that had been widely viewed as mere campaign posturing.\n\nAftermath\nAs part of the deal, Carrier was permitted to move 600 jobs from Indiana to a plant in Mexico. The facility is located in Monterrey, Mexico. Carrier's labor costs are 80% lower in Mexico than in the USA. \n\nThe New York Times reported on August 10, 2018 that Carrier's Indianapolis furnace plant was plagued by low morale and absenteeism because “employees share a looming sense that a factory shutdown is inevitable — that Carrier has merely postponed the closing until a more politically opportune moment.”\n\nThe Washington Post reported in October 2020 that in early 2017 - four months after the deal was struck - Carrier started building a new facility in China. In May 2017, Carrier notified the state of Indiana that it was eliminating 632 jobs from the Indianapolis plant. \n\nAfter the deal was struck, Carrier kept approximately 800 jobs in Indiana that were originally planned to go to Mexico, but eliminated over 1,300 jobs in Indiana: 632 at the Indianapolis plant, and 738 from another plant in Indiana. In addition, Carrier eliminated 1,300 jobs outside Indiana as part of company-wide cost-cutting measures.\n\nDuring 2020, at least 17 Indiana-based companies moved some jobs from Indiana to Mexico, including Black & Decker and Johnson Controls. The total number of jobs moved in 2020 exceeds the number of jobs that were retained in the USA under the Carrier deal.\n\nReferences\n\nExternal links\nDiscussion of video as reflection of working class discontent, PBS NewsHour \nCarrier Air Conditioner (part of United Technologies) Moving 1,400 Jobs to Mexico, YouTube.com\n\nUnited Technologies\nDonald Trump 2016 presidential campaign\nBernie Sanders 2016 presidential campaign\nViral videos\n2016 YouTube videos\nControversies of the 2016 United States presidential election\n2016 in Indiana\nEconomy of Indianapolis\nMexico–United States relations\nTermination of employment\nMonterrey",
"Elijah Martindale (November 10, 1793 – July 21, 1874) was an American pioneer and a leader of the Restoration Movement in Indiana. He was often called \"Elder Elijah Martindale\".\n\nBiography\nMartindale was born in Laurens County, South Carolina. He moved with his family to Warren County, Ohio in 1801 where they established a farm outside Waynesville, Ohio. The family lived there self-sufficiently, making their own clothes and raising their own food. In 1811, Martindale's father was determined to move again, and he resettled the family to Whitewater Valley, Indiana Territory, on a brook now called Martindale Creek. The family constructed a cabin in October and cleared by the following spring. During the aftermath of the Battle of Tippecanoe and the War of 1812, the neighboring settlers decided to erect a small fort around the Martindale cabin. Uncomfortable with the rough lifestyle, Martindale's parents decided to move back to Ohio and to wait out the war there before returning to Indiana.\n\nIn October, 1815, Martindale married a Wayne County, Indiana pioneer named Elizabeth Boyd. In the spring of 1832, Martindale moved with his wife to Flat Rock, Indiana in Henry County. In 1865, they moved to New Castle, Indiana.\n\nMartindale died in New Castle, Indiana at the age of 80.\n\nMinistry\nIn 1820, Martindale preached his first sermon. From then until his death, he preached throughout Henry County, Wayne County, Fayette County, Indiana; Rush County, Indiana, Delaware County, Indiana, Madison County, Indiana, Hancock County, Indiana, and Ohio. He organized Disciples of Christ churches throughout eastern Indiana and Ohio, including Hillsboro, Henry County, Indiana; New Lisbon, Indiana, Middletown, Indiana, Prairie Township, Indiana, Bentonville, Indiana, Plum Creek, Indiana, and Fairview, Indiana.\n\nHe is interred at South Mound Cemetery, New Castle, Indiana.\n\nPersonal life\nElijah Martindale was the father of lawyer and businessman James B. Martindale, a founder of the noted legal reference and catalog of lawyers, the Martindale-Hubbell Law Directory.\n\nReferences \n\n1793 births\n1874 deaths\nAmerican Christian religious leaders\nPeople from Waynesville, Ohio\nMembers of Restoration Movement denominations\nPeople from Laurens County, South Carolina\nPeople from Henry County, Indiana"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know.",
"How did he get interested in baseball?",
"He frequently attended Giants games at the Polo Grounds with his uncle Clarence.",
"Where did he attend school?",
"O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy",
"Was Culver Academy in Queens also?",
"Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana.",
"When did he move to Indiana?",
"in Queens from 1918 to 1920 and then the Culver Academy"
] |
C_46e3100876574128b3d6b14c0f01a623_1
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Did he attend college?
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Did Walter O'Malley attend college?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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he attended the University of Pennsylvania
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| true |
[
"Walter Drumstead (born Dremstadt; September 4, 1898 – May 18, 1946) was an American football guard who played one game in the National Football League (NFL) for the Hammond Pros. He did not attend college, and also played independent ball with the Hammond Scatenas, Boosters, and Colonials.\n\nHe was born Walter Dremstadt on September 4, 1898, in Hammond, Indiana. He did not attend college, and a 1923 article called him, \"from the college of hard knocks.\"\n\nIn 1921, Drumstead started a football career with the independent Hammond Scatenas. He joined the Hammond Boosters in 1924 after three seasons played with the Scatenas, and scored a touchdown in one of his first appearances with the team.\n\nAfter playing most of the 1925 season with the Boosters, Drumstead left the team for one game to play in the National Football League (NFL) with the Hammond Pros. He was a starter in their 0–13 loss against the Chicago Cardinals, and returned to the Boosters afterwards. The Times reported him as a \"fan favorite\". He played for the Boosters again in 1926.\n\nDrumstead played the left guard position for the Hammond Colonials in 1929.\n\nHe died in on May 18, 1946, at the age of 47.\n\nReferences\n\n1898 births\n1946 deaths\nPlayers of American football from Indiana\nPeople from Hammond, Indiana\nAmerican football guards\nHammond Pros players",
"James Thomas Norman (born January 2, 1934 in Fortress Monroe, Virginia) is a former American football offensive lineman in the National Football League for the Washington Redskins. He did not attend college.\n\n1934 births\nLiving people\nSportspeople from Hampton, Virginia\nAmerican football offensive tackles\nWashington Redskins players\nHamilton Tiger-Cats players"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know.",
"How did he get interested in baseball?",
"He frequently attended Giants games at the Polo Grounds with his uncle Clarence.",
"Where did he attend school?",
"O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy",
"Was Culver Academy in Queens also?",
"Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana.",
"When did he move to Indiana?",
"in Queens from 1918 to 1920 and then the Culver Academy",
"Did he attend college?",
"he attended the University of Pennsylvania"
] |
C_46e3100876574128b3d6b14c0f01a623_1
|
What did he study there?
| 11 |
What did Walter O'Malley study at the University of Pennsylvania?
|
Walter O'Malley
|
Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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Engineering and Applied Science
|
Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| true |
[
"Robert Storms Van Howe is an American pediatrician and circumcision researcher from Marquette, Michigan. He was a professor of pediatrics at Central Michigan University College of Medicine at its founding, where he was the Chief of Pediatrics until 2017. He holds a masters' degree in biostatistics and previously taught pediatrics at Michigan State University.\n\nResearch\nVan Howe's research includes a study published in 2007 in BJU International. The study reported that the five most sensitive points on the human penis were all in areas of it that are removed by circumcision and that uncircumcised men's penises were four times more sensitive, on average, than were those of circumcised men. Critics of this study have noted that it was funded by the National Organization of Circumcision Information Resource Centers (NOCIRC), an anti-circumcision activist group. Van Howe maintains that this funding did not bias his study, telling ABC News, \"The study was based on an objective finding\" and \"There's no way you can change what a person felt or didn't feel.\"\n\nViews on circumcision\nVan Howe has said that \"Circumcision is as harmful as it is unnecessary\".\n\nReferences\n\nLiving people\nCentral Michigan University faculty\nMichigan State University faculty\nAmerican pediatricians\nPeople from Marquette, Michigan\nGenital integrity activists\nAmerican health activists\nYear of birth missing (living people)",
"The Predator is the third EP by American metalcore band Ice Nine Kills and was self-released by the band on January 15, 2013. The EP debuted at No. 9 on the Billboard Heatseekers chart.\n\nIt is the only album to feature Steve Koch as bassist and backup singer after his departure in 2013, and the last album to feature Justin Morrow as rhythm guitarist; he would switch to bass guitar and backing vocals (on live performance only) while still playing rhythm guitar in studio in 2013.\n\nThe tracks \"The Coffin Is Moving\" and \"What I Never Learned in Study Hall\" later would be featured on the band's 2014 album The Predator Becomes the Prey.\n\nThe track \"What I Never Learned in Study Hall\" was later re-recorded acoustically for Take Action. Vol. 11 making it similar to the song's predecessors \"What I Really Learned in Study Hall\" and \"What I Should Have Learned in Study Hall\". Unlike the original version, the acoustic version did not feature Tyler Carter as guest vocalist, but instead featured former Kid's Jackson Summer vocalist Kate Ellen Dean.\n\nTrack listing\n\nPersonnel \n Spencer Charnas - lead vocals, piano on \"A Reptile's Dysfunction\"\n Justin \"JD\" DeBlieck - lead guitar, lead vocals\n Justin Morrow - rhythm guitar\n Steve Koch - bass guitar, backing vocals\n Connor Sullivan - drums\n Steve Sopchak - producer, engineer, mixing\n\nCharts\n\nReferences\n\n2013 EPs\nIce Nine Kills EPs\nSelf-released EPs"
] |
[
"Walter O'Malley",
"Early years",
"Where was O'Malley born?",
"Bronx",
"Who was his father?",
"Edwin Joseph O'Malley",
"What did his father do?",
"worked as a cotton goods salesman in the Bronx",
"Who was his mother?",
"Alma Feltner",
"What did his mother do?",
"I don't know.",
"How did he get interested in baseball?",
"He frequently attended Giants games at the Polo Grounds with his uncle Clarence.",
"Where did he attend school?",
"O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy",
"Was Culver Academy in Queens also?",
"Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana.",
"When did he move to Indiana?",
"in Queens from 1918 to 1920 and then the Culver Academy",
"Did he attend college?",
"he attended the University of Pennsylvania",
"What did he study there?",
"Engineering and Applied Science"
] |
C_46e3100876574128b3d6b14c0f01a623_1
|
Did he attend any other schools?
| 12 |
Did Walter O'Malley attend any other schools, besides the University of Pennsylvania?
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Walter O'Malley
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Walter O'Malley was the only child of Edwin Joseph O'Malley (1883-1955), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882-1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star. O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose. Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business. CANNOTANSWER
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he switched from Columbia Law School to night school at Fordham University.
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Walter Francis O'Malley (October 9, 1903 – August 9, 1979) was an American sports executive who owned the Brooklyn/Los Angeles Dodgers team in Major League Baseball from 1950 to 1979. In 1958, as owner of the Dodgers, he brought major league baseball to the West Coast, moving the Dodgers from Brooklyn to Los Angeles despite the Dodgers being the second most profitable team in baseball from 1946 to 1956, and coordinating the move of the New York Giants to San Francisco at a time when there were no teams west of Kansas City, Missouri. For this, he was long vilified by Brooklyn Dodgers fans. However, Pro-O'Malley parties describe him as a visionary for the same business action, and many authorities cite him as one of the most influential sportsmen of the 20th century. Other observers say that he was not a visionary, but instead a man who was in the right place at the right time, and regard him as the most powerful and influential owner in baseball after moving the team.
O'Malley was elected to the National Baseball Hall of Fame for his contributions to and influence on the game of baseball in 2008.
O'Malley's father, Edwin Joseph O'Malley, was politically connected. Walter, a University of Pennsylvania salutatorian, went on to obtain a Juris Doctor, and he used the combination of his family connections, his personal contacts, and both his educational and vocational skills to rise to prominence. First, he became an entrepreneur involved in public works contracting, and then he became an executive with the Dodgers. He progressed from being a team lawyer to being both the Dodgers' owner and president, and he eventually made the business decision to relocate the Dodgers franchise. Although he moved the franchise, O'Malley is known as a businessman whose major philosophy was stability through loyalty to and from his employees.
O'Malley ceded the team presidency to his son, Peter, in 1970 but retained the titles of owner and chairman of the Dodgers until his death in 1979. During the 1975 season, the Dodgers' inability to negotiate a contract with Andy Messersmith led to the Seitz decision, which limited the baseball reserve clause and paved the way for modern free agency. He bequeathed the team to his children Peter O'Malley and Therese O'Malley Seidler upon his death in 1979.
Early years
Walter O'Malley was the only child of Edwin Joseph O'Malley (1881–1953), who worked as a cotton goods salesman in the Bronx in 1903. Edwin O'Malley later became the Commissioner of Public Markets for New York City. Walter's mother was Alma Feltner (1882–1940). O'Malley grew up as a Bronx-born New York Giants fan. He frequently attended Giants games at the Polo Grounds with his uncle Clarence. O'Malley was a Boy Scout who rose to the rank of Star Scout.
O'Malley attended Jamaica High School in Queens from 1918 to 1920 and then the Culver Academy (the eventual high school alma mater of future New York Yankees owner George Steinbrenner) in Indiana. He managed both the baseball and tennis teams, served on the executive staff of the student newspaper, was a member of the Hospital Visitation Committee as well as the debate team, Bible Discipline Committee and the YMCA. At Culver, his baseball career was ended with a baseball that hit him on the nose.
Later, he attended the University of Pennsylvania (Penn) and graduated in 1926 as the senior class Salutatorian. At Penn, he was initiated into Theta Delta Chi, and he also served as president of the Phi Deuteron Charge. Upon his graduation from the University of Pennsylvania School of Engineering and Applied Science his father gave him a cabin cruiser that slept eight. He was also Junior and Senior class president. O'Malley originally enrolled at Columbia University in New York City for law school, but after his family lost their money in the Wall Street Crash of 1929, he switched from Columbia Law School to night school at Fordham University. Edwin O'Malley's dry goods business was failing and Walter had to help run the business.
Personal
On September 5, 1931, he married Katherine Elizabeth "Kay" Hanson (1907–79), whom he had dated since high school, at Saint Malachy's Roman Catholic Church in Manhattan. They had two children: Therese O'Malley Seidler (born 1933) and Peter O'Malley (born 1937). Kay had been diagnosed with laryngeal cancer in 1927 before the engagement and had to have her larynx removed. She was unable to speak above a whisper the rest of her life. Edwin O'Malley encouraged Walter to break off his engagement, and after Walter refused his parents did not attend the wedding. O'Malley was a smoker, who golfed occasionally, but more commonly gardened for recreation. In 1944, he remodelled his parents' summer house in Amityville, New York and relocated his family there from Brooklyn. The house was next door to the house Kay had grown up and her parents lived next door.
As a family man, he attended church regularly, attended Peter's football games at LaSalle Academy, chaperoned his daughter's dances. On summer weekends he took the family sailing on his boat, which was named Dodger.
Pre-baseball career
After he completed his law degree in 1930 at Fordham Law, he worked as an assistant engineer for the New York City Subway. After earning his law degree he needed to obtain a clerkship, but it was during the depression and no one could afford to hire him. He allowed a struggling lawyer to use space in his office and paid for his own clerkship. After working for the Subway, he worked for Thomas F. Riley, who owned the Riley Drilling Company, and they formed the partnership of Riley and O'Malley. With the help of Edwin O'Malley's political connections, Walter's company received contracts from the New York Telephone Company and the New York City Board of Education to perform geological surveys. Subsequently, Walter started the Walter F. O'Malley Engineering Company and published the Subcontractors Register with his uncle, Joseph O'Malley (1893–1985).
Walter eventually concentrated on the field of law, starting with work on wills and deeds. By 1933, he was senior partner in a 20-man Midtown Manhattan law firm. He developed the business habits of smoking cigars and of answering questions only after taking two puffs. During the Great Depression, O'Malley represented bankrupt companies and enriched himself, while building his thriving law practice. He invested wisely in firms such as the Long Island Rail Road, Brooklyn Borough Gas Company, the New York Subways Advertising Company, a building materials firm, a beer firm and some hotels. His success begot both influence and attention. The Brooklyn Democratic Machine powers such as judge Henry Ughetta and Brooklyn Trust Company president George Vincent McLaughlin were among those who noticed the rising O'Malley.
Dodgers
McLaughlin had been New York City Police Commissioner in 1926, knew O'Malley's father, and had attended Philadelphia Athletics games with O'Malley when O'Malley was still at the University of Pennsylvania. McLaughlin hired O'Malley to administer mortgage foreclosures against failing businesses for the Trust Company. O'Malley earned McLaughlin's confidence by acting in numerous capacities including bodyguard, valet, chauffeur, adopted son, confidant and right-hand man. The trust company owned the estate of Charles Ebbets, who had died in 1925 and owned half of the Brooklyn Dodgers. It was 1933 when Walter again met George V. McLaughlin, president of the Brooklyn Trust Company. O'Malley was chosen to protect the company's financial interests in the Brooklyn Dodgers in 1933. O'Malley also served as designated driver for the hard drinking McLaughlin. It was through McLaughlin that Walter was brought into the financial arrangements for Ebbets Field in 1940. In 1942, when Larry MacPhail resigned as general manager to serve in the United States Army as a Lieutenant colonel, O'Malley was appointed the attorney for the Dodgers, and he obtained a minority ownership interest on November 1, 1944. He purchased 25% as did Branch Rickey and John L. Smith (president of Pfizer Chemical), while the heirs of Stephen McKeever retained the final quarter. In 1943, he replaced Wendell Willkie as chief legal counsel. Branch Rickey, who had built the St. Louis Cardinals into champions, replaced MacPhail, and O'Malley began to accumulate stock in the Dodgers.
Rickey was a teetotaler, while O'Malley enjoyed alcoholic beverages and tobacco. As O'Malley became more involved in affairs, he became critical of Rickey, the highest-paid individual in baseball, counting salary, attendance bonuses, and player contract sales commissions. O'Malley and Rickey had very different backgrounds and philosophies. It was O'Malley who put pressure on Rickey to fire manager Leo Durocher, who O'Malley felt was a drain on attendance. In board of directors meetings, O'Malley also opposed Rickey's extravagances. When he was with his political friends, he made fun of Rickey at every chance. Daily News columnist Jimmy Powers would deride Rickey for selling off players and for general miserliness. When Rickey asked O'Malley, the team lawyer, if he should sue, O'Malley said no. Powers' campaign became so public that after the 1946 season Rickey gave each player a new Studebaker, which gave O'Malley, a Dodgers shareholder, reason to speak ill of Rickey in the press. It got to the point where everything Rickey did was something O'Malley derided: O'Malley thought Rickey's construction of the state of the art Vero Beach spring training facility, known as Dodgertown, was extravagant; he thought Rickey's investment in the Brooklyn Dodgers of the All-America Football Conference was questionable; he fought Rickey on the team's beer sponsor; and he demanded that players return their 1947 World Series rings before receiving the new ones Rickey ordered. As team lawyer, O'Malley had a role in breaking the racial barrier as well. In particular, he had a significant role in Rickey's top-secret search for suitable ballplayers to break the color barrier and then later he had a role in assessing the ongoing legal risks to the franchise. Other accounts, however, suggest that he played a lesser role in Robinson's signing.
Control
When co-owner Smith died in July 1950, O'Malley convinced his widow to turn over control of the shares to the Brooklyn Trust Company, which O'Malley controlled as chief legal counsel. Rickey's contract as general manager was set to expire on October 28, 1950. Rickey's Dodgers stock was held on margin and he had fully levered life insurance policy. O'Malley lowballed Rickey with an offer of $346,000 (the purchase price). Rickey demanded $1 million ($ today). O'Malley eventually pursued a complicated buyout of Rickey, who had received an outside offer from William Zeckendorf of $1 million for his interests. There were varying accounts about the sincerity of the offer because Zeckendorf and Pittsburgh Pirates owner John Galbreath were fraternity brothers, but there is a lot of evidence that he had a sincere interest in acquiring the team. The outside offer triggered a clause in the partnership agreement whereby the asking price of a third party had to be matched if a current owner wanted to retain control and the third party would be compensated $50,000. The canceled $50,000 check would later include Rickey's signature showing that Zeckendorf turned over the $50,000 to Rickey.
O'Malley replaced Rickey with Buzzie Bavasi. O'Malley became the president and chief stockholder (owner) on October 26, 1950. O'Malley assumed the title of president from Rickey, who was a trailblazer in baseball both for instituting the farm system and for breaking the racial barrier with Jackie Robinson. According to pitcher Clem Labine and noted author Roger Kahn, the first thing O'Malley did when he took over was assign Bavasi to enamor himself to Dick Young of the Daily News so that O'Malley would not have to worry about ever getting bad press from the Daily News.
After the ownership transfer, O'Malley's rivalry with Rickey became very public. O'Malley forbade the speaking of Rickey's name in Dodgers offices with transgressors being subjected to a fine. He abolished Rickey's title of General Manager so that no front office person could perpetuate Rickey's role. In addition, when Rickey assumed the title with the Pittsburgh Pirates, O'Malley arranged for the Dodgers to omit the Pirates from their spring training schedule. Nonetheless, after the transfer, the Dodgers remained successful under O'Malley: they won the National League pennants in 1952, 1953, 1955—the year of their first World Series championship—and 1956. Under O'Malley, the Dodgers were the most overtly political post World War II franchise. In 1951, Brooklyn native and United States Congressman Emanuel Celler's Judiciary Committee investigated whether the reserve clause was in violation of federal anti-trust laws. Celler represented half of Brooklyn in Congress and O'Malley used the local press such as the Brooklyn Eagle to pressure Celler into backing off of the issue. During the 1951 season, the Dodgers engaged former West Point varsity baseball player and U.S. Army General Douglas MacArthur to lure war veterans. O'Malley attempted to entice him to take the post of Commissioner of Baseball. After the 1956 season, O'Malley sold Ebbets Field to Marvin Kratter and agreed to lease the stadium for three years.
Robinson had been a Rickey protege, and O'Malley did not have the same respect for Robinson that Rickey did. O'Malley referred to him as "Rickey's prima donna". Robinson did not like O'Malley's choice for manager, Walter Alston. Robinson liked to argue with umpires, and Alston rarely did so. Robinson derided Alston in the press. In 1955, Alston played Don Hoak at third base during the exhibition season. Robinson voiced his complaints to the press. Robinson did not get along with Bavasi either, and the three seasons under Alston were uncomfortable for Robinson. Robinson announced his retirement in Look magazine after the 1956 season.
The signing of Robinson brought the team international fame, making O'Malley an international baseball ambassador to celebrities such as Iraq's King Faisal II. In 1954, Dodgers scout Al Campanis signed Sandy Koufax in large part for two reasons, according to a memo to O'Malley that said "No. 1, he's a Brooklyn boy. No. 2, he's Jewish." Bavasi noted that "there were many people of the Jewish faith in Brooklyn." During the 1955 season, Dodgers catcher Roy Campanella had a medical billing controversy regarding neurosurgery services by Manhattan doctor Dr. Samuel Shenkman. Shenkman billed $9,500, an amount which Campanella forwarded to the Dodgers and the Dodgers refused to pay. O'Malley felt the doctor was overcharging: "It appears that [Dr. Shenkman] thought he was operating on Roy's bankroll..." The Dodgers had convinced Campanella to have the surgery after enduring a slump in 1954 following MVP seasons in 1951 and 1953. The surgery was intended to restore complete use of his hand.
Despite having won the National League pennants in 1947, 1949, 1952 and 1953, they lost to the New York Yankees in the World Series each time, which frustrated O'Malley and all Dodgers fans. In 1955, the team won the World Series for the first time in their history. However, attendance declined from a peak of 1.7 million in 1946 and 1947 to just over one million per year in the mid-1950s. With the advent of the affordable automobile and post-war prosperity, Brooklyn's formerly heterogeneous, middle-class fan base for the Dodgers began to splinter. A large white flight took place, and Ebbets Field's shabby condition and lack of parking spaces led to the loss of fans who relocated to Long Island.
O'Malley tried to raise money and get the political backing to build a new ballpark elsewhere in Brooklyn. The one person whose backing he needed was Robert Moses, a powerful figure who influenced development in New York through the Triborough Bridge and Tunnel Authority. O'Malley envisioned a domed stadium near the Long Island Rail Road station on Brooklyn's west end, and even invited R. Buckminster Fuller to design the structure; Fuller, in conjunction with graduate students from Princeton University, constructed a model of the "Dodgers' Dome". Moses did not like O'Malley and derided O'Malley's pro-Brooklyn and pro-Irish sentiments in the press. O'Malley wanted to build a new Brooklyn Dodgers stadium at Flatbush and Atlantic Avenue, but Moses wanted the Dodgers to move to Queens and play in Flushing Meadows Park (the location where the New York Mets play today). Although O'Malley lined up bipartisan political support including New York Governor W. Averell Harriman, Moses blocked the sale of the land necessary for the planned new Brooklyn stadium. O'Malley bought the Chicago Cubs minor league baseball team, the Los Angeles Angels, as well as their stadium, Wrigley Field, from Philip Wrigley in 1956 at the winter baseball meetings, and during spring training, Los Angeles Mayor Norris Poulson traveled to the Dodgers' training camp at Vero Beach, Florida in an attempt to lure the franchise. O'Malley met with Moses at Moses' home after purchasing the Angels to discuss final offers from New York to no avail. O'Malley noticed the great success of the Milwaukee Braves after their move from Boston in 1953. They had a 43,000-seat stadium, parking for 10,000 cars and an arrangement for no city or real estate taxes. He also felt the limitations of the small landlocked Ebbets Field, which held less than 32,111 fans and accommodated only 700 parking spaces. Attendance between 1950 and 1957 was between 1,020,000 in 1954 and 1,280,000 in 1951.
Ultimately, O'Malley decided to leave Brooklyn for Los Angeles in 1957. Robert Moses authority Robert Caro and other contemporaneous sports historians felt that Moses was more to blame for the Dodgers' leaving. The 1956 season had marked the end of the Jackie Robinson era in which the Dodgers won six pennants, lost two pennant series and finished as low as third only once in ten years, and the new era would begin in a new home. During the 1957 season, he negotiated a deal for the Dodgers to be viewed on an early pay TV network by the Skiatron Corporation subject to the approval of other teams and owners. The rest of baseball was not ready for the risks of such a venture and it did not pan out at the time.
Move to Los Angeles
O'Malley is considered by baseball experts to be "perhaps the most influential owner of baseball's early expansion era." Following the 1957 Major League Baseball season, he moved the Dodgers to Los Angeles, and New York's Dodgers fans felt betrayed. O'Malley was also influential in getting the rival New York Giants to move west to become the San Francisco Giants, thus preserving the two teams' longstanding rivalry. He needed another team to go with him, for had he moved out west alone, the St. Louis Cardinals— away— would have been the closest National League team. The joint move made West Coast road trips more economical for visiting teams. O'Malley invited San Francisco Mayor George Christopher to New York to meet with Giants owner Horace Stoneham. Stoneham was considering moving the Giants to Minnesota, but he was convinced to join O'Malley on the West Coast at the end of the 1957 campaign. Since the meetings occurred during the 1957 season and against the wishes of Commissioner of Baseball Ford Frick, there was media gamesmanship. On April 15, 1958, the Dodgers and Giants ushered in West Coast baseball at Seals Stadium. When O'Malley moved the Dodgers from Brooklyn the story transcended the world of sport and he found himself on the cover of Time. The cover art for the issue was created by sports cartoonist Willard Mullin, long noted for his caricature of the "Brooklyn Bum" that personified the team. The dual moves broke the hearts of New York's National League fans but ultimately were successful for both franchises – and for Major League Baseball as a whole. In fact, the move was an immediate success as well since the Dodgers set a major league single-game attendance record in their first home appearance with 78,672 fans. During the first year after the move, the Dodgers made $500,000 more profit than any other Major League Baseball team and paid off all of their debts. This did not assuage many Dodgers fans in New York; many years later, newspaper writers Pete Hamill and Jack Newfield each challenged the other to choose the three worst people of the 20th century. Independently, they produced identical lists: "Hitler, Stalin, O'Malley."
In the years following the move of the New York clubs, Major League Baseball added two completely new teams in California, as well as two in Texas, two in Canada, two in Florida, one each in the Twin Cities, Denver, and Phoenix, and two teams at separate times in Seattle. In addition, the Athletics, who had already moved to Kansas City, moved to Oakland; Kansas City would get a new team the year after the A's moved to Oakland. The National League returned to New York with the introduction of the New York Mets four years after the Dodgers and Giants had departed for California.
When he made the decision to relocate in October 1957 to Los Angeles, O'Malley did not have an established location for where the Dodgers would play in 1958. O'Malley worked out a deal with Los Angeles County and the state of California to rent the Los Angeles Coliseum for $200,000 per year for 1958 and 1959, plus 10% of the ticket revenue, and all concession profits for the first nine games of each season following an opening series with the San Francisco Giants. The Dodgers temporarily took up residence while they awaited the completion of 56,000-seat capacity Dodger Stadium, built for $23 million. The Dodgers were soon drawing more than two million fans a year. They remained successful on the field as well, winning the World Series in 1959, 1963, and 1965. The Los Angeles Angels also played in Dodger Stadium from 1962 to 1965.
Controversy regarding land deal with city of Los Angeles
The dealings with the city of Los Angeles after the Vero Beach meeting raised questions. The initial offer of and tax exemptions was determined to be illegal and improper. The minor league San Diego Padres owners led an opposition effort to stop the transfer of in Chavez Ravine via a referendum. O'Malley engaged in an extensive marketing and media campaign that helped the referendum pass, but there were extensive subsequent taxpayer lawsuits. The plaintiffs initially prevailed in some of these suits. Finally, during the middle of the 1959 season, the Los Angeles City Council was able to approve the final parcel for the stadium. One legendary negotiation with the city over concession revenue is that in O'Malley's move to the Coliseum he agreed to accept concession revenues from only half the team's games—the home half. The land was eventually transferred by the Los Angeles city government to O'Malley by an agreement which required O'Malley and the Dodgers to design, build, privately finance and maintain a 50,000-seat stadium; develop a youth recreation center on the land. O'Malley was to pay $500,000 initially, plus annual payments of $60,000 for 20 years; and pay $345,000 in property taxes starting in 1962, putting the land on the tax rolls. Also, the Dodgers would transfer team-owned Wrigley Field, then appraised at $2.2 million, to the city. The city exchanged "300 acres, more or less, in the Chavez Ravine area", while L.A. County Supervisors unanimously agreed to provide $2.74 million for access roads. In addition, the Dodgers also had to pay $450,000 for territorial rights to the Pacific Coast League, whose Los Angeles Angels and Hollywood Stars suspended play.
Other controversies and management philosophy
In the 1960s, O'Malley attempted to buy out the contract of Shigeo Nagashima of the Tokyo Yomiuri Giants from Matsutaro Shoriki. In 1960, O'Malley refused to pay right fielder Carl Furillo for the 1960 season after he was released early due to injury. This forced Furillo to sue the team. Because of this, O'Malley allegedly blacklisted Furillo from any job in baseball.
His son, Peter O'Malley, described his management style as follows: "As president, the way he ran the business, he believed in stability and very little turnover. It was the strength of the organization. The management team worked as well as the team on the field." This is evidenced in many ways, including the long tenure of both Walter Alston and Tommy Lasorda as Dodgers managers and Vin Scully, the broadcast voice of the Dodgers. Alston was repeatedly rehired to consecutive one-year contracts from 1954–1976 until he retired. Then Lasorda, who had been a long-time employee in as a coach and minor league baseball manager, took over as manager for another 20 years. Scully was the voice of the Dodgers for 67 seasons until his retirement in 2016, the infield of first baseman Steve Garvey, second baseman Davey Lopes, shortstop Bill Russell and third baseman Ron Cey was the longest-running intact infield in major league history. Furthermore, O'Malley is said to have kept Bowie Kuhn in office as the Commissioner of Baseball until O'Malley's death. O'Malley rewarded loyal employee Bavasi by allowing the San Diego Padres franchise to establish an expansion team with Bavasi as president in Southern California. Alston said O'Malley convinced him that when he signed his first one-year contract it could be a lifetime job by pointing out that "signing one-year contracts can mean a lifetime job, if you keep signing enough of them." Although O'Malley had good stories of loyalty with some employees, there were several stories of O'Malley's frugality.
Although O'Malley was loyal to his employees, he did not take kindly to demands from employees such as manager Charlie Dressen's request for a three-year contract. When Dressen requested a multi-year contract after losing a second consecutive World Series to the Yankees, he was released. Then when he hired Walter Alston as a replacement, he made it clear to the press that Alston would only receive one-year contracts and would not attempt to show up the management in the national media. There were rumors that Alston even signed blank contracts in the fall and showed up in the spring to find out his salary. O'Malley also did not support those who remained friends with Rickey, which was a large factor in Red Barber quitting as Dodgers announcer.
O'Malley believed that employees should accept whatever salaries they were offered. In 1966, this led to the contract holdouts of Sandy Koufax and Don Drysdale, who employed the same lawyer. The duo of pitching aces decided to strike together until they were both satisfied. They had earned $70,000 and $75,000 respectively during the 1965 season, during which the Dodgers won the World Series, and O'Malley offered $105,000 and $95,000 for the 1966 season. At the time, Willie Mays was Major League Baseball's highest paid player at $125,000 per year and multi-year contracts were very unusual. They demanded three-year $167,000 per year contracts and after holding out until less than two weeks before Opening Day, they received one-year $130,000 and $115,000 contracts respectively.
O'Malley liked clubhouse turmoil only slightly less than free agent disloyalty. When he traded Maury Wills to the Pittsburgh Pirates following consecutive National League pennants, it was attributed to Wills having quit during the middle of the Dodgers' post-season tour of Japan.
Retirement from presidency
On March 17, 1970, Walter turned over the presidency of the team to his son Peter, remaining as Chairman until his death in 1979. Peter O'Malley held the position until 1998 when the team was sold to Rupert Murdoch. The team remained successful on the field under Peter and won the World Series in both 1981 and 1988. They remained successful at the box office as well: by the end of the 1980s, they had not only became the first franchise to draw three million fans, but also they had done it more times than all other franchises combined. During the 1970s, O'Malley was credited for stagemanaging Lasorda's career. Lasorda become known for his die-hard Dodgers clichés, such as describing the color of his blood by saying "Cut me, I bleed Dodger blue." It was even said that the reciprocal loyalty and respect between Lasorda and O'Malley was so high that O'Malley gave Lasorda a tombstone as a gift that had an inscription that read "TOMMY LASORDA, A DODGER".
The McKeevers held their 25% interest in the Dodgers until 1975 when Dearie McKeever died. They sold out to O'Malley making him the sole owner of the Dodgers. Also during 1975, the Dodgers franchise was embroiled in the Andy Messersmith controversy that led to the Seitz decision, which struck down baseball's reserve clause and opened up the sport to modern free agency. Messersmith and the Dodgers were unable to come to contract terms in part because of a then unheard of no-trade clause demand, and Messersmith pitched the entire season without a contract under the reserve clause, which stated that team has the right to extend the prior years contract one year if a player does not agree to terms. Teams had previously had the right to continue such re-signings year after year. This gave owners the right to issue "take it or leave it" offers to the players. Although the Dodgers and Messersmith nearly hammered out a deal monetarily, they could not come to terms on the no-trade clause. Supposedly Major League Baseball instructed the Dodgers not to surrender such a clause for the good of the game. The Seitz decision limited the re-signings to one year, and since Messersmith performed quite well in 1975, winning a Gold Glove Award and leading the National League in complete games and shutouts, while finishing second in earned run average, he was a valuable talent. He earned offers from six different teams. Messersmith became the first free agent, except for Catfish Hunter who had been declared a 1974 free agent by breach of contract. O'Malley felt the price wars would be the downfall of baseball because the fans only have so much money. The scenario led to an eighteen-day lockout during spring training in 1976 over the prospect of dozens of players playing becoming free agents and the inability to redesign the reserve clause.
Death and legacy
O'Malley was diagnosed with cancer, and he sought treatment at the Mayo Clinic in Rochester, Minnesota. He died of congestive heart failure on August 9, 1979, at the Methodist Hospital in Rochester. O'Malley had never returned to Brooklyn before his death. He was buried at Holy Cross Cemetery in Culver City, California. His wife Kay had died a few weeks earlier.
Although O'Malley had later retired and had relinquished control of the Dodgers before his death, he is still hated in Brooklyn, not only for moving the Dodgers, but also for forcing out legendary general manager Branch Rickey from the team in 1950. At one time, Brooklyn Dodgers fans hated O'Malley so much that he was routinely mentioned along with Adolf Hitler and Joseph Stalin as the most villainous 20th-century men; one version of a joke went, "If a Brooklyn man finds himself in a room with Hitler, Stalin, and O'Malley, but has only two bullets, what does he do? Shoot O'Malley twice." Some still consider him among the worst three men of the 20th century. Much of the animosity was not just for moving the team, but robbing Brooklyn of the sense of a cohesive cultural and social identity that a major sports franchise provides. Despite the long-standing animosity of Brooklyn fans and their supporters in baseball, O'Malley was posthumously inducted into the National Baseball Hall of Fame in 2008 after having been elected by the Veterans Committee with the minimum number of votes necessary for induction.
His legacy is that of changing the mindset of a league that had the St. Louis Cardinals as its southernmost and westernmost team (the Philadelphia Athletics of the American League had moved to Kansas City just three years prior). Tommy Lasorda said upon hearing of his election to the Hall, "He's a pioneer. He made a tremendous change in the game, opening up the West Coast to Major League Baseball." When asked how he wanted to be remembered, O'Malley said, "for planting a tree." The tree provided the branches to open up the West Coast to baseball, but O'Malley's son remembers his father's 28 years on Major League Baseball's executive council as service that "was instrumental in the early stages of the game's international growth." His contributions to baseball were widely recognized even before his Hall of Fame election: he was ranked 8th and 11th respectively by ABC Sports and The Sporting News in their lists of the most influential sports figures of the 20th century.
On July 7, 2009, Walter O'Malley was inducted into the Irish American Baseball Hall of Fame along with two other Dodger icons: slugger Steve Garvey and announcer Vin Scully. "Over the years, we have learned more of his decade-long quest to build a new stadium in Brooklyn and about how those efforts were thwarted by city officials. Perhaps this induction will inspire fans who themselves started new lives outside the borough to reconsider their thoughts about Walter O'Malley", said John Mooney, curator of the Irish American Baseball Hall of Fame. "He privately built one of baseball's more beautiful ballparks, Dodger Stadium, and set attendance records annually. While New York is the home of the Irish American Baseball Hall of Fame, it seeks to honor inductees whose impact was and is national."
O'Malley's detractors say that he was not a visionary for taking baseball west. They say the game was naturally heading toward geographical expansion and O'Malley just an opportunist. Rather than truly being a leader these detractors say his leadership was a manifestation of making the most money.
Popular culture
O'Malley was mentioned several times in Danny Kaye's 1962 song tribute The D-O-D-G-E-R-S Song (Oh, Really? No, O'Malley!), which spins a tale of a fantasy game between the Dodgers and the Giants. At one point, the umpire's call goes against the home team:
Down in the dugout, Alston glowers
Up in the booth, Vin Scully frowns;
Out in the stands, O'Malley grins...
Attendance 50,000!
So ....what does O'Malley do? CHARGE!!
O'Malley was featured prominently in the HBO documentary film Brooklyn Dodgers: Ghosts of Flatbush, which chronicled his executive management of the Brooklyn/Los Angeles Dodgers. The documentary focuses on the post World War II glory years of the franchise and presents a compelling case that O'Malley truly wanted to keep the Dodgers in Brooklyn in a stadium near a railroad station, but he was unable to get the proper support from Moses.
Timeline
1903 Birth in New York City on October 9
1926 Graduation from the University of Pennsylvania
1929 Stock Market Crash
1930 Law degree from Fordham University
1931 Marriage to Katherine Elizabeth Hanson, aka Kay Hanson on September 5
1933 Birth of Therese O'Malley, his daughter, on May 16
1937 Birth of Peter O'Malley, his son, on December 12
1940 Death of Alma Feltner, his mother, on June 1
1942 Appointed attorney for the Brooklyn Dodgers
1950 President and chief stockholder of Dodgers on October 26
1953 Death of Edwin Joseph O'Malley, his father, on April 10
1955 Dodgers win World Series
1957 Team moved to Los Angeles
1959 Dodgers win World Series
1963 Dodgers win World Series
1965 Dodgers win World Series
1970 Peter O'Malley, his son, becomes President of Dodgers on March 17
1974 Dodgers win National League Championship Series on Walter's 71st birthday
1975 O'Malley owns 100% of Dodgers stock
1977 Chest surgery in Los Angeles on June 9
1979 Death of Kay, his wife, in Los Angeles on July 12
1979 Treatment at the Mayo Clinic in Minnesota
1979 Death of Walter O'Malley at the Mayo Clinic in Minnesota on August 9
2007 Elected to the Baseball Hall of Fame on December 3
2008 Inducted into the Baseball Hall of Fame on July 27
2009 Induction into the Irish American Baseball Hall of Fame in New York City on July 7
References
Further reading
, accessed online at google books on 2008-01-24
Stout, Glenn (Richard A. Johnson photos and editing), The Dodgers: 120 Years of Dodgers Baseball, Houghton Mifflin Company, 2004, Boston/New York, .
External links
O'Malley archive at Los Angeles Times
1903 births
1979 deaths
American sports businesspeople
Brooklyn Dodgers executives
Brooklyn Dodgers owners
Burials at Holy Cross Cemetery, Culver City
Columbia Law School alumni
Fordham University School of Law alumni
Los Angeles Dodgers executives
Los Angeles Dodgers owners
Major League Baseball executives
Major League Baseball owners
Major League Baseball team presidents
National Baseball Hall of Fame inductees
Walter
People from the Bronx
People from Amityville, New York
University of Pennsylvania School of Engineering and Applied Science alumni
Catholics from New York (state)
Culver Academies alumni
20th-century American people
| true |
[
"Education has always been a priority in the Salt Lake City, Utah. In 1847 pioneer Jane Dillworth held the first classes in her tent for the children of the first Mormon families. By 1850 many schools had already sprung up around the valley, and there were plans for a school attached to every wardhouse. In 1851 the territorial legislature passed the first public school law creating the office of the superintendent of schools. Many large Mormon families, such as Brigham Young's, had their own schools, known as \"family schools\".\n\nIn the last part of the 19th century, there was much controversy over how children in the area should be educated. Mormon influence in public schools created problems with non-Mormon parents, and raised issues about public school supervision. Mormons became upset about the number of private Protestant schools popping up. The schools would offer free tuition to Mormon students in order to convert them. Westminster College, although now a secular four-year college, is the last remaining example of these schools. LDS Church members also resented non-Mormon influences in the public schools and began to focus once again on efforts to develop church-run schools.\n\nMany Mormon youths in grades 9–12 attend some form of religious instruction, referred to as seminary. In years past students would attend during school hours and even receive credit for it. Although many still attend during school hours, they no longer receive any credit.\n\nDue to high birth rates and large classrooms Utah spends less per capita on students than any other state. Money is always a challenge and many businesses donate to support schools. Several districts have set up foundations to raise money.\n\nFurther reading\n\nSee also\n\nEducation in Salt Lake County\nSalt Lake City School District\nUniversity of Utah\n\n \nEducation in Utah",
"Lydia Patterson Institute is a Methodist Christian college-preparatory school located in El Paso, Texas, United States. Founded in 1913 it offers programs for Spanish-speaking children, primarily from Ciudad Juárez, Chihuahua to attend high school in the United States and attend a Methodist graduate university. All high school classes are taught in English, and the school is accredited by the Southern Association of Colleges and Schools.\n\nHistory\nAt the beginning of the 20th century in El Paso, there were very few educational opportunities for poor Hispanic boys. Since the State of Texas did not provide public education of any kind for non-English speaking students, most Hispanic children in the Second Ward were not receiving any formal education.\nMrs. Lydia Patterson, a Methodist laywoman, recognized the gravity of this problem, and in 1906, she began to set up day classes for boys in the homes of area Methodists. Upon her death in 1909, her husband Millard Patterson, a local attorney, decided to memorialize her by establishing the school that she had envisioned, and in 1913, construction began on the Lydia Patterson Institute.\nIn 1921, LPI became one of the first schools in the country to emphasize the teaching of English as a Second Language, or ESL, merging students into the appropriate grade upon completion of the ESL program.\n\nReferences\n\nExternal links \n Lydia Patterson Website\n Lydia Patterson Facebook Page\n Lydia Patterson students cross border to forge futures\n CNN Report on LPI\n LPI Tribune Website\n\nEducation in El Paso, Texas\nSchools in El Paso County, Texas\nPrivate high schools in Texas\nEducational institutions established in 1913\nHigh schools in El Paso, Texas\nMethodist schools in the United States\n1913 establishments in Texas\nChristian schools in Texas"
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[
"Pinky and the Brain",
"Other recurring characters"
] |
C_77efb9c050a640fba93b63e0452d0220_1
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who were some recurring characters?
| 1 |
who were some recurring characters on Pinky and the Brain?
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Pinky and the Brain
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Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and the Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, and Ivan Pavlov. There is very little continuity between episodes outside of the common fixtures of the mice, though some plans for world domination from early episodes are subsequently referred to in later seasons (for example, Brain's "human suit" used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball"). The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people vote that he should take over the world on the one day he does not want to. Both Pinky and the Brain, white mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration; per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme "Gene Splicer, Bagel Warmer, and Hot Dog Steamer." Although Pinky and the Brain plan to conquer the world, they do not show much animosity. In a Christmas special Pinky even wrote to Santa that Brain had the world's best interests at heart. Pinky (voiced by Rob Paulsen) is another genetically modified mouse who shares the same cage as Brain at Acme Labs. Although intelligent in his own right, Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "narf", "zort", "poit", and "troz" (the last of which he started saying after noticing it was "zort in the mirror"). Pinky's appearance is the complete opposite of Brain's--while Brain is short, has a crooked tail and pink eyes, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue eyes, and a severe overbite, is taller than the Brain, and speaks in a higher pitched voice with a Cockney accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my... pinky!" Pinky then responded with "Yes?", believing Brain was referring to him. Pinky is more open-minded, kinder, and happier than the Brain. Troubles never ruin his day, arguably because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles, and abuses him. Pinky actually seems to enjoy this, laughing after he is hit. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought process and how he comes to the strange, seemingly nonsensical responses to the Brain's famous question, "Are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the given night's plot. He is also arguably Brain's moral compass and only real friend. When Pinky sold his soul to get Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence despite his supposed childish stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became President, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for." Snowball the hamster (voiced by Roddy McDowall) is Brain's former friend who was also made intelligent by gene splicing and has a similar desire for world conquest (though far more malevolent than Brain's) which Pinky and the Brain are sometimes forced to stop. Billie (voiced by Tress MacNeille) is a female mouse and another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky. In the episode "You'll Never Eat Food Pellets In This Town Again", it is revealed that Brain is married to Billie (who in real life is Sheila, and hates playing Billie), who pretty much only agreed because he's famous, and eventually kicks him out and makes Brain live in his restaurant. It is later revealed that the events were just a dream. Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love. Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids WB executives to include additional characters on the show. His presence is sporadic as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and The Brain, as they worked best as a comedy duo, and a third character would therefore be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the name "Larry!" shoehorned in between existing lyrics. Other characters that have appeared on the show have included both of Brain's and Pinky's parents and the pair's "child", "Roman Numeral I" (Romy for short) who was a result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton. Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, and Christopher Walken, as was common on other Animaniacs cartoons. CANNOTANSWER
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Merlin, H.G. Wells, and Ivan Pavlov.
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Pinky and the Brain is an American animated television series that was created by Tom Ruegger that premiered on Kids' WB on September 9, 1995. It was the first animated television series to be presented in Dolby Surround and the fourth collaboration of Steven Spielberg with his production company, Amblin Entertainment, and Warner Bros. Animation. The characters first appeared in 1993 as a recurring skit on Animaniacs. It was later spun off as a series due to its popularity, with 66 episodes produced. The characters later appeared in the series Pinky, Elmyra & the Brain, and have since returned to their roots as an Animaniacs skit in the 2020 revival of that series.
Pinky and the Brain are genetically enhanced laboratory mice who reside in a cage in the Acme Labs research facility. Brain is highly intelligent, self-centered and scheming, while Pinky is good-natured but feeble-minded. In each episode, Brain devises a new plan to take over the world which ultimately ends in failure, usually due to the impossibility of Brain's plan, Brain's own arrogance or overconfidence, Pinky's bumbling, something Brain didn’t consider, circumstances beyond their control, or multiples thereof. In common with many other Animaniacs shorts, many episodes are in some way a parody of something else, usually a film or novel.
Premise
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, Ivan Pavlov, and Johannes Gutenberg. There is very little continuity between episodes outside of the common fixtures of the two mice, though some plans for world domination from early episodes are subsequently referred to in later seasons; for example, Brain's mechanical human suit that was first used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball".
The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people votes that he should take over the world on the one day that he does not want to.
Both Pinky and Brain, white lab mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration, per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme Gene Splicer, Bagel Warmer, and Hot Dog Steamer.
Although Pinky and Brain plan to conquer the world, they do not show much animosity. In a Christmas special, Pinky even wrote a letter to Santa Claus saying that Brain had the world's best interests at heart.
Episodes
Characters
Pinky
Pinky (voiced by Rob Paulsen, who also voices Yakko from Animaniacs) is a genetically modified mouse who shares the same cage as Brain at Acme Labs. Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "Narf", "Zort", "Poit", and "Troz", the last of which he started saying after noticing it was "Zort" reflected backwards in a mirror. Pinky's appearance contrasts with Brain's — while Brain is short, has a crooked tail and pink sclerae, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue sclerae, and a severe overbite, is taller than the Brain and speaks in a high-pitched voice with a Cockney British accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my...pinky!" Pinky then responded with "Yes?", believing that Brain was referring to him.
Pinky is more open-minded, kinder, and generally happier than the Brain. Troubles never ruin his day, possibly because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles and even abuses him. Pinky actually seems to enjoy this, often laughing after he is hit on the head. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes, Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought processes and how he comes to the strange, seemingly nonsensical responses to Brain's famous question, "Pinky, are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the plan in the given night's plot.
He is also Brain's moral compass and his only true friend. When Pinky sold his soul to the devil to give Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence, despite his supposed stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became president, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for."
The Brain
The Brain or "Brain" for short (voiced by Maurice LaMarche) looks and sounds like Orson Welles. In "What Ever Happened to Baby Brain", Brain actually crosses paths with Welles, who is working as a busboy in a Hollywood restaurant, and they find themselves inadvertently yelling in unison, "Things will be different when I take over the world!" In "Project B.R.A.I.N.", Brain's name is the backronym for the eponymous project: "Biological Recombinant Algorithmic Intelligence Nexus". His tail is angular and bent — he often uses it to pick the lock of the cage door — and his head is large and wide, housing his abnormally large brain. He is highly intelligent and develops complex plans for global domination using politics, cultural references, and his own inventions toward his goal. He seems coldly unemotional, speaking in a snarky deadpan voice. Nevertheless, Brain has a subtle sense of humor and has even fallen in love, with Trudie in the episode "The Third Mouse" and with Billie in "The World Can Wait". Due to his stature and megalomania, Brain has been compared to Don Quixote and has been called a pop culture depiction of Napoleon Bonaparte.
Brain sees his inevitable rise to power as good for the world and not as mere megalomania. In Animaniacs: Wakko's Wish, he said to Pinky "We're on our way to fame, fortune and a world that's a better place for all." Many of the Brain's plots had the endgame of winning over the people's hearts and then having them make him their ruler. However, his motives are not pure. In one episode, Brain finds himself hypnotized by a psychologist whom he had planned to manipulate for one of his schemes, who turns out to be none other than Sigmund Freud. There Brain reveals that he originally lived with his parents in a tin can at the base of a tree in a large field. When he was young, ACME researchers captured Brain and took him from his home, and the last he saw of it was a picture of the world on the side of the can. Dr. Freud speculates that Brain's hunger to take over the world is misplaced, and that all he really wants is to go back home to his parents. According to the creators, Brain wants to take over the world not for the sake of being a dictator, like his rival Snowball, but because he believes that he could do a much better job of it than the people currently in charge. Brain has even helped save the world by doing everything in his power to prevent Snowball's evil schemes, knowing that a world under Snowball's rule would be a worst-case scenario. In the 2020 Animaniacs reboot, Brain gains a new rival in taking over the world in the form of his wife, Senator Julia Brain, after his attempts to mind-control her into becoming a puppet ruler for him led to her becoming insane.
Other recurring characters
Snowball the hamster (voiced by Roddy McDowall) is Brain's former childhood friend-turned-rival who was also made intelligent by gene splicing and has a similar desire for world conquest (though his desire is far more malevolent than Brain's) which Pinky and Brain are sometimes forced to stop.
Billie (voiced by Tress MacNeille) is a female white mouse and yet another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky instead. In the episode "You'll Never Eat Food Pellets In This Town Again!", it is revealed that Brain is married to Billie (who in real life is named Sheila and hates playing Billie), who pretty much agreed to marry him only because he is famous, and eventually kicks him out and makes him live in his restaurant. It is later revealed that the events were just a dream.
Pharfignewton (voiced by Frank Welker) is a white racing mare, with whom Pinky falls in love. Though Brain constantly tells Pinky that he is a mouse and Pharfignewton is a horse, Pinky always chooses not to listen to him.
Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids' WB executives to include additional characters on the show. His presence is sporadic, as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and Brain, as they worked best as a comedy duo; thus a third character would, therefore, be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the words "and Larry!" shoehorned in between existing lyrics. He is a caricature of Larry Fine of The Three Stooges fame; therefore, the episode's title is "Pinky and the Brain...and Larry".
Other characters that have appeared on the series have included both of Brain's and Pinky's parents and the duo's "son", "Roman Numeral I" (Romy for short) another white mouse who was the result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton, Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, Jim Nabors as Gomer Pyle, and Christopher Walken, as was common on other Animaniacs cartoons.
Creation and inspiration
Pinky and the Brain was inspired by the peculiar personalities of two producers of Tom Ruegger's earlier show Tiny Toon Adventures, Eddie Fitzgerald and Tom Minton, respectively. The two worked in the same office at Warner Bros. Animation and developed interesting personalities that the other staff had picked up on; Ruegger said that Minton seemed to be always scheming to take over the world, while Fitzgerald comedically agreed with him, injecting nonsense words like "Narf" and "Egad" around the office. The gag credit for the Tiny Toon Adventures episode "You Asked For It" credits Eddie Fitzgerald as "Guy Who Says 'Narf'". Series producer Peter Hastings described Eddie by saying, "He always greeted you like you were wearing a funny hat – and he liked it." During the development of Animaniacs, animator Bruce Timm drew caricatures of Minton and Fitzgerald, and Ruegger then added mouse ears and noses to the drawing, cementing the concept for Pinky and the Brain. The Fitzgerald/Minton connection to Pinky and the Brain is shown in the episode "The Pinky and the Brain Reunion Special". Two characters shown as writers for Pinky and the Brain cartoons within the short are caricatures of Fitzgerald and Minton.
While Ruegger initially based the Brain after Minton, the Welles connection came from Maurice LaMarche, a big fan of the actor/director, who had supplied the voice for Orson Welles in the 1994 movie Ed Wood. LaMarche stated that on coming in to audition for the character of the Brain, he saw the resemblance to Welles and went with that for the voice, and he was given the role on the spot. LaMarche describes Brain's voice as "65% Orson Welles, 35% Vincent Price".
Brain's similarity to Orson Welles was made explicit in the Animaniacs episode "Yes, Always", which was based upon an outtake from one of Welles' television commercials, colloquially known as Frozen Peas, in which he ranted about the poor quality of the script. This cartoon was described by writer Peter Hastings as "a $250,000 inside joke": LaMarche used excerpts from it as sound check material before recording episodes, and Hastings took it to its logical conclusion. The writers developed the script in secret playing off these test lines and the Frozen Peas outtakes, and arranged to have recording on the same day as Sam Kinison's funeral, whom LaMarche was a close friend of. Prior to LaMarche's arrival, the other voice actors, including Paulsen, recognized the humor of the script after they started reading it. According to Paulsen, when LaMarche arrived, he had originally kept his professionalism after the funeral, but broke down in happiness as he recognized the script for what it was. The series also alluded to Welles with an episode in which Brain took on the mind-clouding powers of a radio character called "The Fog": a parody of The Shadow, a popular radio character for which Welles once provided the voice. Other Welles allusions included the episode "The Third Mouse", a parody of The Third Man in which the Brain played the part of Welles' character Harry Lime (with Pinky as Holly Martins), and "Battle for the Planet", in which Brain, inspired by Welles' infamous War of the Worlds radio broadcast and the hysteria that it provoked, stages an alien invasion on television. A caricature of Orson Welles appears in a late episode of the series ("What Ever Happened to Baby Brain"), echoing a rant of the Brain's and introducing himself afterwards.
Paulsen had already been selected to voice Pinky as he was already voicing Yakko Warner for Animaniacs. Paulsen, taking inspiration from British comedies such as Monty Python's Flying Circus, The Goon Show, and Peter Sellers, soon gave Pinky "a goofy whack job" of a British accent for the character.
The episode "Win Big" was the very first Pinky and the Brain skit. It was developed for Animaniacs, written by Ruegger with a script by Peter Hastings, and directed by Rusty Mills. According to Ruegger, most of the elements that would become part of Pinky and the Brain can be found in Hastings's original script. It held many dialogue bits that became conventions of the entire series, including Brain's "Pinky, are you pondering what I'm pondering?", Pinky's "Oh...wait, no." in response to a plan, and Pinky's final question, "Why, Brain? What are we going to do tomorrow night?"
Production
Producers
As with Animaniacs, Steven Spielberg was the executive producer during the entire run, Tom Ruegger was the senior producer, Jean MacCurdy was the executive in charge of production, and Andrea Romano was the voice director. Peter Hastings, Rusty Mills and Liz Holzman produced the series when it was spun off from Animaniacs, as well as the season it ran primetime on the WB. After the first season Hastings left the show and Mills took over as the supervising producer.
Writing
The original Pinky and the Brain shorts on Animaniacs were written primarily by Peter Hastings. Upon moving into its own series, the writing staff included Gordon Bressack, Charles M. Howell IV, Earl Kress, Wendell Morris, and Tom Sheppard. Comedian Alex Borstein was also a staff writer, years before her fame on MADTV and Family Guy. Classic Warner Bros. cartoon director Norm McCabe also wrote for the series.
Voice actors
Pinky and the Brain were voiced by Rob Paulsen and Maurice LaMarche, respectively. The series also used the work of many of the same voice actors for Animaniacs, including Tress MacNeille, Jess Harnell, Frank Welker, Nancy Cartwright, Janet Waldo and Jeff Bennett. Celebrities such as Roddy McDowall, Nora Dunn, Townsend Coleman, Ernest Borgnine, Eric Idle, Dick Clark, Ed McMahon, Steve Allen, Joyce Brothers, Gavin MacLeod, John Tesh, Michael McKean, Garry Marshall, Mark Hamill, James Belushi, and Steven Spielberg have all performed guest voice work for the series as well.
Cree Summer has also voiced characters in Pinky and the Brain and reprised her role as Elmyra Duff during Pinky, Elmyra & the Brain.
Music
As with Animaniacs, Pinky and the Brain was scored by a team of composers, led by Emmy-Award-winning composer Richard Stone. This team included Steven Bernstein and Julie Bernstein, who also orchestrated and sometimes conducted the 40-piece orchestra. The recordings were done on Stage A on the Warner Bros lot, the same stage (and with the same piano) where Carl Stalling recorded his Looney Tunes music. The theme song for Pinky and the Brain was composed by Richard Stone with lyrics by Tom Ruegger.
Two versions of the opening sequence and theme, with slightly different lyrics, were used during the Animaniacs skits. In the first version, Yakko, Wakko, and Dot (voiced respectively by Paulsen, Harnell, and MacNeille) popped up in the lab and sang the theme while letting the two mice out of their cage. The second, later version had the singers off-camera as the Brain picked the lock on the cage door with a small needle to free himself and Pinky. On the Pinky and the Brain series, the theme gained an additional two verses and was sung by Harnell, Dorian Harewood, Jim Cummings, and Paulsen.
The score sometimes includes references to classical music. For example, in the episode where the Brain builds a new papier-mâché Earth, the theme from the 2nd and 4th movements of Dvořák's New World Symphony can be heard throughout the episode. The episode Napoleon Brainaparte makes frequent reference to the French anthem, La Marseillaise, while in the episode in which Pinky becomes the artist "Pinkasso", Mussorgsky's Pictures at an Exhibition can be heard.
Animation
Like Animaniacs, most of the original Pinky and the Brain skits used a variety of animation studios, including Tokyo Movie Shinsha, StarToons, Wang Film Productions, and AKOM. The bulk of the episodes created outside of Animaniacs (seasons 2 and beyond) were produced by Rough Draft Studios, Wang Film Productions and AKOM. The only episode that was animated by Tokyo Movie Shinsha on the spin-off series was A Pinky and the Brain Christmas.
Humor
Like Animaniacs, much of the humor in Pinky and the Brain was aimed at adult audiences. Parodies of pop culture icons were quite common on the series, more so during the original episodes developed for the WB prime time slot. In addition to previously mentioned political and actor caricatures, some episodes included complete parodies like those in Animaniacs. The episode "The Megalomaniacal Adventures of Brainie the Poo" parodies The Many Adventures of Winnie the Pooh (or simply Winnie the Pooh). "Cameos" include Jagger instead of Tigger and Algore instead of Eeyore. Algore is "full of hot air", and shown floating like a balloon. Other parodic elements include Christopher Walken in place of Christopher Robin and the "Brainie the Poo" book appears to have been authored by "A. A. Meeting." The three-part episode "Brainwashed" included several allusions to the television show The Prisoner, though everyone in this version of the Village was identified by the hat that they wore, and not by a number.
Three songs resemble the musical skits in Animaniacs, matching existing music with new lyrics. Pinky sings "Cheese Roll Call" to John Philip Sousa's march "Semper Fidelis" praising his love for all cheeses from around the world. To the music of "Camptown Races", Brain lists the major parts of the human brain, with Pinky jumping in at the chorus to shout "Brainstem! Brainstem!". "A Meticulous Analysis of History" is set to "When I Was a Lad" from Gilbert and Sullivan's H.M.S. Pinafore, and sung by both Brain and Pinky, with Brain reciting the rise to power of such historical leaders as Napoleon and Cleopatra, while Pinky mentions how they all fell. In addition, "Brainwashed" featured a song called the Schmëerskåhøvên, a parody of the Macarena, which would brainwash people if it was done correctly. The song includes such odd lyrics as "Put your fingers in your ears, then stick them in your belly" and "Bop yourself on the head and cross your eyes."
Like Animaniacs, there was a gag credit in the closing credits: each show featured an English word appropriate for the episode with its definition. For example, "Around the World in 80 Narfs", where the mice are foiled by trying to speak "New York cabbie" and end up going in circles in one location, the gag credit word was "anophelosis" defined as "morbid state due to extreme frustration".
Another common element in nearly every episode is the following exchange (often referred to by the acronym "AYPWIP"):
Brain: Pinky, are you pondering what I'm pondering?Pinky: I think so, Brain, but...
Pinky's response ends with a non sequitur such as, "we're already naked", "isn't a cucumber that small called a gherkin?" or "if they called them Sad Meals, kids wouldn't buy them." Brain would then become furious, often bashing Pinky on the head. A few times in the series Pinky and Brain indeed pondered the same thing, though in one of these Pinky dismissed his idea as being too stupid. Just one time the answer was "Yes I am!", when Pinky's intelligence is elevated to match Brain's. In another episode, it turns out that what Pinky was pondering was that he and Brain never ponder the same thing, which turned out to be part of what Brain was pondering as well. In a short episode ("Pinky's P.O.V.") the spectator sees everything Pinky sees (including his imaginations) and hears his thoughts. His brain seems to censor a large portion of Brain's dialogue, leaving Pinky to wander into random internal tangents until Brain asks the question. Pinky then responds with whatever was on his mind at the end of the tangent.
Response
Popularity
Pinky and the Brain were popular on Animaniacs, and the popularity continued into their own series. It attracted many of the same fans as Animaniacs and Internet outreach attracted more. Maurice LaMarche and Rob Paulsen appeared on voice actor tours around the Warner Bros. Studio Stores.
In an interview on the third DVD volume, LaMarche and Paulsen noted that Roy Langbord (vice-president of Showtime), Al Franken, and Barenaked Ladies are fans of the shows. Naughty Dog co-founder Jason Rubin was also fond of the series; the character of the Brain served as an influence in the creation of Doctor Neo Cortex, the main antagonist of the Crash Bandicoot video game series.
Nominations and awards
Pinky and the Brain won several Emmy and Annie Awards. In 1996, the series won an Emmy Award for Outstanding Animated Program for the episode A Pinky and the Brain Christmas. Paulsen won the Annie Award for Outstanding Individual Achievement for "Voice Acting by a Male Performer in an Animated Television Program Production" in 1996 and 1997, while LaMarche won the same in 1998. Paulsen also won an Emmy Award for Outstanding Performer in an Animated Program for his role as Pinky subsequently in 1999. The series itself won the 1999 Daytime Emmy for "Outstanding Special Class Animated Program".
The episode "Inherit the Wheeze", in which Brain was subject to the effects of smoking by a tobacco company, won a PRISM Award for its anti-smoking message.
References in other media
The Rice University Neologism dictionary includes not only "narf" as a random sound or nonce word, but also "narfed" as a verb to mean "to be struck completely" with some embarrassment or folly, much as Pinky would be hit on the head by Brain after his follies ruined Brain's plan. The International Dictionary of Neologisms includes the word "narfistic" as "an idea or concept that works fine when you think about it – but is very difficult to express to someone else", as a result of Pinky only saying "Narf!" after Brain elaborates on one of his extensive plans.
In one of the host segments in the Hobgoblins episode of Mystery Science Theater 3000, Pearl Forrester summons her sidekicks Professor Bobo and Observer over by calling, "Pinky! Brain!"
In the post-apocalyptic role-playing game Fallout 2 by Interplay, a couple of mutant albino mole rats appear. One creature is utterly insane, muttering intentions of taking rulership. The other is a highly intelligent cult leader who has intricate plans to claim domination of the post-apocalyptic world; he also has a taste for Cheezy Poofs.
Pinky and the Brain were alluded to in The Incredible Hulk #438 as two white mice kept by Omnibus. One of the realistically drawn mice had an enlarged cranium, and when their cage was destroyed the sound "narf" is indicated. Also, when Jailbait asked what they would do during the night, Hotshot replied "The same thing they do every night...whatever that is."
The track "Great Day" on the album Madvillainy by the eponymous duo of MF Doom and Madlib features a reference to one of Brain's famous catchphrases: "DOOM, are you pondering what I'm pondering?/Yes, but why would the darn thing be wandering?"
The Virgin New Adventures Doctor Who novel, Death and Diplomacy by Dave Stone includes two characters repeating the "Are you pondering..." lines, and near the end, two of the fallen villains in the story recover, one telling his comrade that they must prepare for tomorrow night when they will take over the universe.
This is Not a Game, a novel by Walter Jon Williams begins "Plush dolls of Pinky and the Brain overhung Charlie's Monitor..." and the theme of world domination is central to the plot.
In the game Destroy All Humans!, during the final boss battle against Silhouette when you read her mind one of the things she says is "What do I do? The same thing I do every night. Try and take over the world!"
In the Robot Chicken episode "Kramer vs. Showgirls", a sketch has Michael Moore interviewing cartoon characters from the 1990s, including Pinky and the Brain. Pinky had an ear growing on his back and Brain was moved to another cage, as it turned out his large head was a result of Paget's disease, and he had been rendered blind and had arthritis as a result of the disease. Alan Tudyk voiced Pinky and Seth Green voiced Brain.
Another episode has LaMarche reprising his role of Brain in "Eviscerated Post-Coital by a Six Foot Mantis" in a sketch where Pinky and the Brain get sent on a psychedelic trip after being injected with phencyclidine.
In the MAD episode "Spy vs. Spy Kids/The Superhero Millionaire Matchmaker", Mickey Mouse captures Pinky and the Brain in a cage.
The opening conversation between Pinky and Brain ("Gee, Brain...") that is shown in every episode is sampled in "Joey Bada$$"'s World Domination.
In The New Batman Adventures episode "Torch Song", Batman asks Batgirl "So, what are you doing tonight?" to which Batgirl answers "Same thing we do every night, Pinky!". Batman replies "What?", followed by "Never mind." from Batgirl.
In the first novel of The Laundry Files, The Atrocity Archive, the hero Bob Howard's roommates are nicknamed Pinky and the Brain.
In 2011, a chorus line in the song "Take Over the World" by YouTuber Ray William Johnson (under the channel name Your Favorite Martian) sampled the Pinky and the Brain catchphrase.
In 2014, at the end of Nostalgia Critic's review of The Purge, Rob Paulsen and Maurice LaMarche reprised their roles as Pinky and the Brain respectively, in animated form, at the very end of the episode. The segment involves Brain finally losing his temper with Pinky and spewing profanity-laced insults at him, causing Pinky to burst into tears. The segment then cuts to live-action footage of LaMarche and Paulsen recording their lines, with The Critic behind them. LaMarche asks if this is for a kid's show, to which The Critic says, "Just say it, people have been wanting to hear this for years."
In the web series Camp Camp (created by Rooster Teeth) episode "Journey to Spooky Island", the characters come across a laboratory with horrific experiments gone wrong. One of the cases labeled "Take a Cartoon Literally #303" has a mouse with a grotesquely huge brain and another with its head removed and replaced with a finger. The brainy one writes 'Kill Me' on the glass.
In the 2018 comedy-drama film Tully, Marlo (Charlize Theron) asks the eponymous night nanny (Mackenzie Davis) what she usually does in the daytime, to which Tully replies, "Same thing I do every day, try to take over the world!"
On February 15, 2019, the group Postmodern Jukebox released a video for their rendition of the theme song (done in jazz style); this video featured Rob Paulsen and Maurice LaMarche working at the bar in the background, performing a short monologue as their respective characters in the middle of the video.
In 2019, during one of the final episodes of the animated series My Little Pony: Friendship Is Magic, entitled "The Ending of the End: Part 2", Pinkie Pie asks "What are we gonna do, Twilight?", which Twilight Sparkle replies "The same thing we do every time, Pinkie. Try to save the world!"
In 2021, an image of Brain appears in The Simpsons Season 33 episode "The Wayz We Were".
History
On Animaniacs and Pinky and the Brain
Pinky and the Brain first appeared as a recurring skit on the animated series Animaniacs, another series produced by Steven Spielberg. On September 3, 1993, Pinky and the Brain premiered on television in the episode "Win Big", which aired on the FOX network.
On September 9, 1995, Pinky and the Brain were spun off onto their own half-hour series on Kids' WB!, with each episode consisting of one or more segments, including some of the segments from Animaniacs. The first season was scheduled in a prime time slot from September 10, 1995 through July 21, 1996, as part of the new WB network lineup, with episodes also being repeated within the Saturday morning cartoon block. It had been envisioned for the series to be the WB network's answer to The Simpsons, at that point in its 7th season, which was running on the FOX network. The series tended to have more jokes and humor aimed at adults rather than children. Due to poor ratings following the first season, primarily due to running against 60 Minutes, subsequent seasons were moved to Saturday mornings as part of the Kids' WB! programming block.
Even though they had their own series, they still had several shorts in Animaniacs after they got the series, still appeared in the series' intro and often made cameo appearances.
On Pinky, Elmyra & the Brain
In 1998, the overall structure within the WB Network changed, including the placement of Jamie Kellner as head of the Kids WB! programming. Along with this came pressure on the writers of the series to back off on the idea of world domination and to include more characters on the series. The episode "Pinky and the Brain...and Larry" was a response to this pressure, attempting to show the studio heads that the series was fine as it was, that Pinky and the Brain worked together as a comedy duo - each balancing each other out with their flaws and personalities - and that a third character (or any extra characters at all) would be out of place and thus unnecessary to the plot. At this point, Peter Hastings, a key writer for the series, decided to quit, with his last script being "You'll Never Eat Food Pellets In This Town Again!", directly addressing the issue of network executives trying to retool shows that otherwise already work. Following the production of the episode, the network backed off from forcing new characters into the show.
With increased pressure from the WB network, the series eventually was retooled on September 19, 1998, into Pinky, Elmyra & the Brain, in which Pinky and the Brain were owned by Tiny Toon Adventures character Elmyra Duff; the unusual change in format was even sarcastically noted in the altered title song, with lyrics such as "It's what the network wants, why bother to complain?". The decision was not well received by the existing crew. For one, according to Paulsen, Spielberg had stated that the Tiny Toons and the Animaniacs/Pinky and the Brain universes were to be kept separate. Furthermore, the chemistry between the characters were altered; by introducing Elmyra (who tended to be even more dense than Pinky was), it shifted Pinky to become the useless "Larry" of this series, as described by Paulsen. This series lasted for 13 episodes, six of which were shown unedited and seven of which were split up into segments and aired as a part of The Cat&Birdy Warneroonie PinkyBrainy Big Cartoonie Show.
On the Animaniacs revival
Pinky and the Brain, with voice work by Paulsen and LaMarche, were featured as primary recurring characters along with the Warner siblings as part of the 2020 revival of Animaniacs produced by Amblin and Warner Bros. for broadcast on Hulu. Two seasons of 13 episodes each were ordered, with the first season first broadcast on November 20, 2020 and the second first broadcast on November 5, 2021.
Merchandise
Pinky and the Brain, along with Animaniacs, aired coincident with the formation of the Warner Bros. Studio Store chain across the United States, and, as a result, numerous T-shirts, coffee mugs, stuffed animals, animation cels, and original artwork from the show were available through these outlets. Other merchandise included comic books, computer games, and videotapes. When Warner Brothers acquired the Hanna-Barbera animation properties in 1998, there was a significant decrease with such merchandise through the store. By the time the series was cancelled, very little merchandise was available.
VHS releases
Four VHS collections of Pinky and the Brain episodes were released in 1996 and 1997, each with approximately two to four episodes that included shorts from Animaniacs. These collections are now out of print.
DVD releases
[[File:Pinky and the Brain vol1.jpg|thumb|right|upright| DVD cover for Pinky and the Brain Volume 1]]
Warner Home Video has released all 66 episodes on DVD in Region 1 in a three-volume set.
Comic books
Pinky and the Brain were also regulars in the Animaniacs comic book series published by DC Comics. From July 1996 to November 1998, they also starred in their own comic book series (also published by DC Comics), which ran first for one Christmas Special issue and then 27 regular issues before its cancellation. Following the cancellation of the Pinky and the Brain series, the two mice later starred in stories that took up half of the later issues of the Animaniacs comic book series which, starting at issue #43, was re-titled Animaniacs! featuring Pinky and the Brain and ran for another 16 issues before its cancellation.
Video games
There are two video games based on Pinky and the Brain. The first, a PC game called Pinky and the Brain: World Conquest, was produced by SouthPeak Games and distributed by Warner Bros. The second was Pinky and the Brain: The Master Plan for the Game Boy Advance. The game was produced by Warthog and distributed by SWING! Entertainment in 2002. A third game, titled simply Pinky and the Brain, was announced for the Sega Saturn in 1996 and was planned to be published by Konami, but was later cancelled. The characters have also appeared in several of the Animaniacs video games, such as Animaniacs: The Great Edgar Hunt.
Music
While Pinky and the Brain does not feature as many songs as Animaniacs, some of the music from the show can be found across the three Animaniacs CDs. An expanded version of the Animaniacs'' skit "Bubba Bo Bob Brain" presented in a radio drama or audiobook fashion was released as a read-along book and CD in 1997 by Rhino Entertainment.
See also
Jamie Kellner
References
External links
Animaniacs
1995 American television series debuts
1998 American television series endings
1990s American animated television series
Animaniacs characters
Television duos
Animated duos
DC Comics titles
Fictional genetically engineered characters
Animated television series about mice and rats
Fictional scientists
Television supervillains
Television series created by Tom Ruegger
Kids' WB original shows
Television series by Warner Bros. Animation
Television series by Amblin Entertainment
Television series by Warner Bros. Television Studios
American animated television spin-offs
Annie Award winners
The WB original programming
Cultural depictions of Orson Welles
Male characters in animated series
Animated television characters introduced in 1993
English-language television shows
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[
"A recurring character is a fictional character, usually in a prime time TV series, who frequently appears from time to time during the series' run. Recurring characters often play major roles in more than one episode, sometimes being the main focus. They may be contrasted with \"regular\" characters, who typically appear in every or almost every episode of a series. Recurring characters appear less frequently than regulars, but more frequently than guest star characters, who may appear in only one or two episodes without being expected to return. \n\nRecurring characters sometimes start out as guest stars in one episode, who then reappear in future episodes because creators or audiences found the actors or storylines compelling enough to revisit. Sometimes a recurring character eventually becomes part of the main cast of characters; such a character is sometimes called a breakout character. Some notable examples of main characters who were originally recurring characters are: Eli Gold on The Good Wife; Leo Chingkwake on That '70s Show; Angel and Oz on Buffy the Vampire Slayer; Marc St. James on Ugly Betty; Vanessa Abrams on Gossip Girl; Zack Allan on Babylon 5; Steve Urkel on Family Matters; Donna Moss on The West Wing; and Felicity Smoak on Arrow.\n\nIn other cases, recurring characters have been given spin-off series of their own, such as Dr. Frasier Crane who originally was a recurring character on Cheers. Kelsey Grammer, along with fellow recurring actor John Ratzenberger were hired for seven episodes, to play Frasier Crane and Cliff Clavin respectively. Cliff was scheduled to recur during the 1982-1983 season, Frasier to recur during 1984-1985 season. Both actors were subsequently upgraded to the main cast, and Crane continued in his own series following the end of Cheers. \n\nOn sketch comedy programs, recurring characters are generally a staple. For example, in the sketch comedy series Your Show of Shows, Sid Caesar used the concept frequently:\n\nUsually they appear in their own sketch and the sketch itself can become a regular part of the show. Some notable examples include the Church Lady and Hans and Franz from Saturday Night Live, the Gumbys from Monty Python's Flying Circus, and Bob and Doug McKenzie from SCTV. However, the characters are not always limited to their own sketches. Sometimes, characters from a recurring sketch go on to appear in other sketches, or develop into their own TV shows. For example, when The Carol Burnett Show was canceled the central character of a popular recurring sketch called The Family, Thelma \"Mama\" Harper, went on to have her own show Mama's Family. Also, recurring characters in sketch comedy shows can go on to have their own movies. This is especially true with Saturday Night Live which has had many recurring characters turn into movies such as Stuart Smalley, Wayne and Garth of Wayne's World, The Blues Brothers, and The Ladies Man. Recurring characters may even revisit shows long after the actor who played them has left the cast, for example, the character Mary Katherine Gallagher was portrayed by Molly Shannon when she hosted Saturday Night Live in 2007, six years after she left the cast. Sometimes a recurring character from one show appears on another show, such as when Dave Thomas and Rick Moranis hosted Saturday Night Live in 1983 and portrayed Bob and Doug MacKenzie, or when Emily Litella (portrayed by Gilda Radner) from Saturday Night Live appeared on The Muppet Show in 1978. Sacha Baron Cohen's character Ali G is another example, originating on the Channel Four series The Eleven O'Clock Show. The character was such a huge success that Cohen got his own show as the original show was cancelled.\n\nRecurring characters are not limited to television. In the early 20th century, the Saturday Evening Post frequently had recurring characters in their cover art, such as Baby New Year. The Shmoo was a recurring character in the comic strip Li'l Abner, which eventually went on to appear in the TV cartoon series Fred and Barney Meet the Shmoo and The New Shmoo. The Sherlock Holmes series of novels by Arthur Conan Doyle featured well-known recurring characters such as Inspector Lestrade and Mrs. Hudson.\n\nIn US daytime soap operas, recurring characters are ones played by actors who do not have a contract. They are not obligated to play the role and have no guarantee of work. Actors on recurring status used to be referred to as day players.\n\nSee also\n Supporting character\n\nReferences\n\nTelevision terminology\nFictional characters by role in the narrative structure",
"Neighbours is a long-running Australian television soap opera that was first broadcast on the Seven Network on 18 March 1985. The following is an alphabetical list of recurring characters and cast members that have appeared in the soap. Recurring characters who later became regular characters are not included, neither are characters that were regular and returned as recurring.\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\n\nJ\n\nK\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\nSee also\nList of Neighbours characters for current and upcoming characters\nList of former Neighbours characters for former regular characters\n\nExternal links\n Cast and characters at the Internet Movie Database\n\nLists of Neighbours characters"
] |
[
"Pinky and the Brain",
"Other recurring characters",
"who were some recurring characters?",
"Merlin, H.G. Wells, and Ivan Pavlov."
] |
C_77efb9c050a640fba93b63e0452d0220_1
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anyone else?
| 2 |
Besides Merlin, H.G. Wells, and Ivan Pavlov. anyone else considered recurring characters?
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Pinky and the Brain
|
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and the Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, and Ivan Pavlov. There is very little continuity between episodes outside of the common fixtures of the mice, though some plans for world domination from early episodes are subsequently referred to in later seasons (for example, Brain's "human suit" used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball"). The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people vote that he should take over the world on the one day he does not want to. Both Pinky and the Brain, white mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration; per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme "Gene Splicer, Bagel Warmer, and Hot Dog Steamer." Although Pinky and the Brain plan to conquer the world, they do not show much animosity. In a Christmas special Pinky even wrote to Santa that Brain had the world's best interests at heart. Pinky (voiced by Rob Paulsen) is another genetically modified mouse who shares the same cage as Brain at Acme Labs. Although intelligent in his own right, Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "narf", "zort", "poit", and "troz" (the last of which he started saying after noticing it was "zort in the mirror"). Pinky's appearance is the complete opposite of Brain's--while Brain is short, has a crooked tail and pink eyes, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue eyes, and a severe overbite, is taller than the Brain, and speaks in a higher pitched voice with a Cockney accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my... pinky!" Pinky then responded with "Yes?", believing Brain was referring to him. Pinky is more open-minded, kinder, and happier than the Brain. Troubles never ruin his day, arguably because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles, and abuses him. Pinky actually seems to enjoy this, laughing after he is hit. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought process and how he comes to the strange, seemingly nonsensical responses to the Brain's famous question, "Are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the given night's plot. He is also arguably Brain's moral compass and only real friend. When Pinky sold his soul to get Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence despite his supposed childish stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became President, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for." Snowball the hamster (voiced by Roddy McDowall) is Brain's former friend who was also made intelligent by gene splicing and has a similar desire for world conquest (though far more malevolent than Brain's) which Pinky and the Brain are sometimes forced to stop. Billie (voiced by Tress MacNeille) is a female mouse and another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky. In the episode "You'll Never Eat Food Pellets In This Town Again", it is revealed that Brain is married to Billie (who in real life is Sheila, and hates playing Billie), who pretty much only agreed because he's famous, and eventually kicks him out and makes Brain live in his restaurant. It is later revealed that the events were just a dream. Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love. Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids WB executives to include additional characters on the show. His presence is sporadic as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and The Brain, as they worked best as a comedy duo, and a third character would therefore be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the name "Larry!" shoehorned in between existing lyrics. Other characters that have appeared on the show have included both of Brain's and Pinky's parents and the pair's "child", "Roman Numeral I" (Romy for short) who was a result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton. Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, and Christopher Walken, as was common on other Animaniacs cartoons. CANNOTANSWER
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Snowball the hamster
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Pinky and the Brain is an American animated television series that was created by Tom Ruegger that premiered on Kids' WB on September 9, 1995. It was the first animated television series to be presented in Dolby Surround and the fourth collaboration of Steven Spielberg with his production company, Amblin Entertainment, and Warner Bros. Animation. The characters first appeared in 1993 as a recurring skit on Animaniacs. It was later spun off as a series due to its popularity, with 66 episodes produced. The characters later appeared in the series Pinky, Elmyra & the Brain, and have since returned to their roots as an Animaniacs skit in the 2020 revival of that series.
Pinky and the Brain are genetically enhanced laboratory mice who reside in a cage in the Acme Labs research facility. Brain is highly intelligent, self-centered and scheming, while Pinky is good-natured but feeble-minded. In each episode, Brain devises a new plan to take over the world which ultimately ends in failure, usually due to the impossibility of Brain's plan, Brain's own arrogance or overconfidence, Pinky's bumbling, something Brain didn’t consider, circumstances beyond their control, or multiples thereof. In common with many other Animaniacs shorts, many episodes are in some way a parody of something else, usually a film or novel.
Premise
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, Ivan Pavlov, and Johannes Gutenberg. There is very little continuity between episodes outside of the common fixtures of the two mice, though some plans for world domination from early episodes are subsequently referred to in later seasons; for example, Brain's mechanical human suit that was first used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball".
The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people votes that he should take over the world on the one day that he does not want to.
Both Pinky and Brain, white lab mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration, per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme Gene Splicer, Bagel Warmer, and Hot Dog Steamer.
Although Pinky and Brain plan to conquer the world, they do not show much animosity. In a Christmas special, Pinky even wrote a letter to Santa Claus saying that Brain had the world's best interests at heart.
Episodes
Characters
Pinky
Pinky (voiced by Rob Paulsen, who also voices Yakko from Animaniacs) is a genetically modified mouse who shares the same cage as Brain at Acme Labs. Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "Narf", "Zort", "Poit", and "Troz", the last of which he started saying after noticing it was "Zort" reflected backwards in a mirror. Pinky's appearance contrasts with Brain's — while Brain is short, has a crooked tail and pink sclerae, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue sclerae, and a severe overbite, is taller than the Brain and speaks in a high-pitched voice with a Cockney British accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my...pinky!" Pinky then responded with "Yes?", believing that Brain was referring to him.
Pinky is more open-minded, kinder, and generally happier than the Brain. Troubles never ruin his day, possibly because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles and even abuses him. Pinky actually seems to enjoy this, often laughing after he is hit on the head. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes, Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought processes and how he comes to the strange, seemingly nonsensical responses to Brain's famous question, "Pinky, are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the plan in the given night's plot.
He is also Brain's moral compass and his only true friend. When Pinky sold his soul to the devil to give Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence, despite his supposed stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became president, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for."
The Brain
The Brain or "Brain" for short (voiced by Maurice LaMarche) looks and sounds like Orson Welles. In "What Ever Happened to Baby Brain", Brain actually crosses paths with Welles, who is working as a busboy in a Hollywood restaurant, and they find themselves inadvertently yelling in unison, "Things will be different when I take over the world!" In "Project B.R.A.I.N.", Brain's name is the backronym for the eponymous project: "Biological Recombinant Algorithmic Intelligence Nexus". His tail is angular and bent — he often uses it to pick the lock of the cage door — and his head is large and wide, housing his abnormally large brain. He is highly intelligent and develops complex plans for global domination using politics, cultural references, and his own inventions toward his goal. He seems coldly unemotional, speaking in a snarky deadpan voice. Nevertheless, Brain has a subtle sense of humor and has even fallen in love, with Trudie in the episode "The Third Mouse" and with Billie in "The World Can Wait". Due to his stature and megalomania, Brain has been compared to Don Quixote and has been called a pop culture depiction of Napoleon Bonaparte.
Brain sees his inevitable rise to power as good for the world and not as mere megalomania. In Animaniacs: Wakko's Wish, he said to Pinky "We're on our way to fame, fortune and a world that's a better place for all." Many of the Brain's plots had the endgame of winning over the people's hearts and then having them make him their ruler. However, his motives are not pure. In one episode, Brain finds himself hypnotized by a psychologist whom he had planned to manipulate for one of his schemes, who turns out to be none other than Sigmund Freud. There Brain reveals that he originally lived with his parents in a tin can at the base of a tree in a large field. When he was young, ACME researchers captured Brain and took him from his home, and the last he saw of it was a picture of the world on the side of the can. Dr. Freud speculates that Brain's hunger to take over the world is misplaced, and that all he really wants is to go back home to his parents. According to the creators, Brain wants to take over the world not for the sake of being a dictator, like his rival Snowball, but because he believes that he could do a much better job of it than the people currently in charge. Brain has even helped save the world by doing everything in his power to prevent Snowball's evil schemes, knowing that a world under Snowball's rule would be a worst-case scenario. In the 2020 Animaniacs reboot, Brain gains a new rival in taking over the world in the form of his wife, Senator Julia Brain, after his attempts to mind-control her into becoming a puppet ruler for him led to her becoming insane.
Other recurring characters
Snowball the hamster (voiced by Roddy McDowall) is Brain's former childhood friend-turned-rival who was also made intelligent by gene splicing and has a similar desire for world conquest (though his desire is far more malevolent than Brain's) which Pinky and Brain are sometimes forced to stop.
Billie (voiced by Tress MacNeille) is a female white mouse and yet another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky instead. In the episode "You'll Never Eat Food Pellets In This Town Again!", it is revealed that Brain is married to Billie (who in real life is named Sheila and hates playing Billie), who pretty much agreed to marry him only because he is famous, and eventually kicks him out and makes him live in his restaurant. It is later revealed that the events were just a dream.
Pharfignewton (voiced by Frank Welker) is a white racing mare, with whom Pinky falls in love. Though Brain constantly tells Pinky that he is a mouse and Pharfignewton is a horse, Pinky always chooses not to listen to him.
Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids' WB executives to include additional characters on the show. His presence is sporadic, as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and Brain, as they worked best as a comedy duo; thus a third character would, therefore, be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the words "and Larry!" shoehorned in between existing lyrics. He is a caricature of Larry Fine of The Three Stooges fame; therefore, the episode's title is "Pinky and the Brain...and Larry".
Other characters that have appeared on the series have included both of Brain's and Pinky's parents and the duo's "son", "Roman Numeral I" (Romy for short) another white mouse who was the result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton, Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, Jim Nabors as Gomer Pyle, and Christopher Walken, as was common on other Animaniacs cartoons.
Creation and inspiration
Pinky and the Brain was inspired by the peculiar personalities of two producers of Tom Ruegger's earlier show Tiny Toon Adventures, Eddie Fitzgerald and Tom Minton, respectively. The two worked in the same office at Warner Bros. Animation and developed interesting personalities that the other staff had picked up on; Ruegger said that Minton seemed to be always scheming to take over the world, while Fitzgerald comedically agreed with him, injecting nonsense words like "Narf" and "Egad" around the office. The gag credit for the Tiny Toon Adventures episode "You Asked For It" credits Eddie Fitzgerald as "Guy Who Says 'Narf'". Series producer Peter Hastings described Eddie by saying, "He always greeted you like you were wearing a funny hat – and he liked it." During the development of Animaniacs, animator Bruce Timm drew caricatures of Minton and Fitzgerald, and Ruegger then added mouse ears and noses to the drawing, cementing the concept for Pinky and the Brain. The Fitzgerald/Minton connection to Pinky and the Brain is shown in the episode "The Pinky and the Brain Reunion Special". Two characters shown as writers for Pinky and the Brain cartoons within the short are caricatures of Fitzgerald and Minton.
While Ruegger initially based the Brain after Minton, the Welles connection came from Maurice LaMarche, a big fan of the actor/director, who had supplied the voice for Orson Welles in the 1994 movie Ed Wood. LaMarche stated that on coming in to audition for the character of the Brain, he saw the resemblance to Welles and went with that for the voice, and he was given the role on the spot. LaMarche describes Brain's voice as "65% Orson Welles, 35% Vincent Price".
Brain's similarity to Orson Welles was made explicit in the Animaniacs episode "Yes, Always", which was based upon an outtake from one of Welles' television commercials, colloquially known as Frozen Peas, in which he ranted about the poor quality of the script. This cartoon was described by writer Peter Hastings as "a $250,000 inside joke": LaMarche used excerpts from it as sound check material before recording episodes, and Hastings took it to its logical conclusion. The writers developed the script in secret playing off these test lines and the Frozen Peas outtakes, and arranged to have recording on the same day as Sam Kinison's funeral, whom LaMarche was a close friend of. Prior to LaMarche's arrival, the other voice actors, including Paulsen, recognized the humor of the script after they started reading it. According to Paulsen, when LaMarche arrived, he had originally kept his professionalism after the funeral, but broke down in happiness as he recognized the script for what it was. The series also alluded to Welles with an episode in which Brain took on the mind-clouding powers of a radio character called "The Fog": a parody of The Shadow, a popular radio character for which Welles once provided the voice. Other Welles allusions included the episode "The Third Mouse", a parody of The Third Man in which the Brain played the part of Welles' character Harry Lime (with Pinky as Holly Martins), and "Battle for the Planet", in which Brain, inspired by Welles' infamous War of the Worlds radio broadcast and the hysteria that it provoked, stages an alien invasion on television. A caricature of Orson Welles appears in a late episode of the series ("What Ever Happened to Baby Brain"), echoing a rant of the Brain's and introducing himself afterwards.
Paulsen had already been selected to voice Pinky as he was already voicing Yakko Warner for Animaniacs. Paulsen, taking inspiration from British comedies such as Monty Python's Flying Circus, The Goon Show, and Peter Sellers, soon gave Pinky "a goofy whack job" of a British accent for the character.
The episode "Win Big" was the very first Pinky and the Brain skit. It was developed for Animaniacs, written by Ruegger with a script by Peter Hastings, and directed by Rusty Mills. According to Ruegger, most of the elements that would become part of Pinky and the Brain can be found in Hastings's original script. It held many dialogue bits that became conventions of the entire series, including Brain's "Pinky, are you pondering what I'm pondering?", Pinky's "Oh...wait, no." in response to a plan, and Pinky's final question, "Why, Brain? What are we going to do tomorrow night?"
Production
Producers
As with Animaniacs, Steven Spielberg was the executive producer during the entire run, Tom Ruegger was the senior producer, Jean MacCurdy was the executive in charge of production, and Andrea Romano was the voice director. Peter Hastings, Rusty Mills and Liz Holzman produced the series when it was spun off from Animaniacs, as well as the season it ran primetime on the WB. After the first season Hastings left the show and Mills took over as the supervising producer.
Writing
The original Pinky and the Brain shorts on Animaniacs were written primarily by Peter Hastings. Upon moving into its own series, the writing staff included Gordon Bressack, Charles M. Howell IV, Earl Kress, Wendell Morris, and Tom Sheppard. Comedian Alex Borstein was also a staff writer, years before her fame on MADTV and Family Guy. Classic Warner Bros. cartoon director Norm McCabe also wrote for the series.
Voice actors
Pinky and the Brain were voiced by Rob Paulsen and Maurice LaMarche, respectively. The series also used the work of many of the same voice actors for Animaniacs, including Tress MacNeille, Jess Harnell, Frank Welker, Nancy Cartwright, Janet Waldo and Jeff Bennett. Celebrities such as Roddy McDowall, Nora Dunn, Townsend Coleman, Ernest Borgnine, Eric Idle, Dick Clark, Ed McMahon, Steve Allen, Joyce Brothers, Gavin MacLeod, John Tesh, Michael McKean, Garry Marshall, Mark Hamill, James Belushi, and Steven Spielberg have all performed guest voice work for the series as well.
Cree Summer has also voiced characters in Pinky and the Brain and reprised her role as Elmyra Duff during Pinky, Elmyra & the Brain.
Music
As with Animaniacs, Pinky and the Brain was scored by a team of composers, led by Emmy-Award-winning composer Richard Stone. This team included Steven Bernstein and Julie Bernstein, who also orchestrated and sometimes conducted the 40-piece orchestra. The recordings were done on Stage A on the Warner Bros lot, the same stage (and with the same piano) where Carl Stalling recorded his Looney Tunes music. The theme song for Pinky and the Brain was composed by Richard Stone with lyrics by Tom Ruegger.
Two versions of the opening sequence and theme, with slightly different lyrics, were used during the Animaniacs skits. In the first version, Yakko, Wakko, and Dot (voiced respectively by Paulsen, Harnell, and MacNeille) popped up in the lab and sang the theme while letting the two mice out of their cage. The second, later version had the singers off-camera as the Brain picked the lock on the cage door with a small needle to free himself and Pinky. On the Pinky and the Brain series, the theme gained an additional two verses and was sung by Harnell, Dorian Harewood, Jim Cummings, and Paulsen.
The score sometimes includes references to classical music. For example, in the episode where the Brain builds a new papier-mâché Earth, the theme from the 2nd and 4th movements of Dvořák's New World Symphony can be heard throughout the episode. The episode Napoleon Brainaparte makes frequent reference to the French anthem, La Marseillaise, while in the episode in which Pinky becomes the artist "Pinkasso", Mussorgsky's Pictures at an Exhibition can be heard.
Animation
Like Animaniacs, most of the original Pinky and the Brain skits used a variety of animation studios, including Tokyo Movie Shinsha, StarToons, Wang Film Productions, and AKOM. The bulk of the episodes created outside of Animaniacs (seasons 2 and beyond) were produced by Rough Draft Studios, Wang Film Productions and AKOM. The only episode that was animated by Tokyo Movie Shinsha on the spin-off series was A Pinky and the Brain Christmas.
Humor
Like Animaniacs, much of the humor in Pinky and the Brain was aimed at adult audiences. Parodies of pop culture icons were quite common on the series, more so during the original episodes developed for the WB prime time slot. In addition to previously mentioned political and actor caricatures, some episodes included complete parodies like those in Animaniacs. The episode "The Megalomaniacal Adventures of Brainie the Poo" parodies The Many Adventures of Winnie the Pooh (or simply Winnie the Pooh). "Cameos" include Jagger instead of Tigger and Algore instead of Eeyore. Algore is "full of hot air", and shown floating like a balloon. Other parodic elements include Christopher Walken in place of Christopher Robin and the "Brainie the Poo" book appears to have been authored by "A. A. Meeting." The three-part episode "Brainwashed" included several allusions to the television show The Prisoner, though everyone in this version of the Village was identified by the hat that they wore, and not by a number.
Three songs resemble the musical skits in Animaniacs, matching existing music with new lyrics. Pinky sings "Cheese Roll Call" to John Philip Sousa's march "Semper Fidelis" praising his love for all cheeses from around the world. To the music of "Camptown Races", Brain lists the major parts of the human brain, with Pinky jumping in at the chorus to shout "Brainstem! Brainstem!". "A Meticulous Analysis of History" is set to "When I Was a Lad" from Gilbert and Sullivan's H.M.S. Pinafore, and sung by both Brain and Pinky, with Brain reciting the rise to power of such historical leaders as Napoleon and Cleopatra, while Pinky mentions how they all fell. In addition, "Brainwashed" featured a song called the Schmëerskåhøvên, a parody of the Macarena, which would brainwash people if it was done correctly. The song includes such odd lyrics as "Put your fingers in your ears, then stick them in your belly" and "Bop yourself on the head and cross your eyes."
Like Animaniacs, there was a gag credit in the closing credits: each show featured an English word appropriate for the episode with its definition. For example, "Around the World in 80 Narfs", where the mice are foiled by trying to speak "New York cabbie" and end up going in circles in one location, the gag credit word was "anophelosis" defined as "morbid state due to extreme frustration".
Another common element in nearly every episode is the following exchange (often referred to by the acronym "AYPWIP"):
Brain: Pinky, are you pondering what I'm pondering?Pinky: I think so, Brain, but...
Pinky's response ends with a non sequitur such as, "we're already naked", "isn't a cucumber that small called a gherkin?" or "if they called them Sad Meals, kids wouldn't buy them." Brain would then become furious, often bashing Pinky on the head. A few times in the series Pinky and Brain indeed pondered the same thing, though in one of these Pinky dismissed his idea as being too stupid. Just one time the answer was "Yes I am!", when Pinky's intelligence is elevated to match Brain's. In another episode, it turns out that what Pinky was pondering was that he and Brain never ponder the same thing, which turned out to be part of what Brain was pondering as well. In a short episode ("Pinky's P.O.V.") the spectator sees everything Pinky sees (including his imaginations) and hears his thoughts. His brain seems to censor a large portion of Brain's dialogue, leaving Pinky to wander into random internal tangents until Brain asks the question. Pinky then responds with whatever was on his mind at the end of the tangent.
Response
Popularity
Pinky and the Brain were popular on Animaniacs, and the popularity continued into their own series. It attracted many of the same fans as Animaniacs and Internet outreach attracted more. Maurice LaMarche and Rob Paulsen appeared on voice actor tours around the Warner Bros. Studio Stores.
In an interview on the third DVD volume, LaMarche and Paulsen noted that Roy Langbord (vice-president of Showtime), Al Franken, and Barenaked Ladies are fans of the shows. Naughty Dog co-founder Jason Rubin was also fond of the series; the character of the Brain served as an influence in the creation of Doctor Neo Cortex, the main antagonist of the Crash Bandicoot video game series.
Nominations and awards
Pinky and the Brain won several Emmy and Annie Awards. In 1996, the series won an Emmy Award for Outstanding Animated Program for the episode A Pinky and the Brain Christmas. Paulsen won the Annie Award for Outstanding Individual Achievement for "Voice Acting by a Male Performer in an Animated Television Program Production" in 1996 and 1997, while LaMarche won the same in 1998. Paulsen also won an Emmy Award for Outstanding Performer in an Animated Program for his role as Pinky subsequently in 1999. The series itself won the 1999 Daytime Emmy for "Outstanding Special Class Animated Program".
The episode "Inherit the Wheeze", in which Brain was subject to the effects of smoking by a tobacco company, won a PRISM Award for its anti-smoking message.
References in other media
The Rice University Neologism dictionary includes not only "narf" as a random sound or nonce word, but also "narfed" as a verb to mean "to be struck completely" with some embarrassment or folly, much as Pinky would be hit on the head by Brain after his follies ruined Brain's plan. The International Dictionary of Neologisms includes the word "narfistic" as "an idea or concept that works fine when you think about it – but is very difficult to express to someone else", as a result of Pinky only saying "Narf!" after Brain elaborates on one of his extensive plans.
In one of the host segments in the Hobgoblins episode of Mystery Science Theater 3000, Pearl Forrester summons her sidekicks Professor Bobo and Observer over by calling, "Pinky! Brain!"
In the post-apocalyptic role-playing game Fallout 2 by Interplay, a couple of mutant albino mole rats appear. One creature is utterly insane, muttering intentions of taking rulership. The other is a highly intelligent cult leader who has intricate plans to claim domination of the post-apocalyptic world; he also has a taste for Cheezy Poofs.
Pinky and the Brain were alluded to in The Incredible Hulk #438 as two white mice kept by Omnibus. One of the realistically drawn mice had an enlarged cranium, and when their cage was destroyed the sound "narf" is indicated. Also, when Jailbait asked what they would do during the night, Hotshot replied "The same thing they do every night...whatever that is."
The track "Great Day" on the album Madvillainy by the eponymous duo of MF Doom and Madlib features a reference to one of Brain's famous catchphrases: "DOOM, are you pondering what I'm pondering?/Yes, but why would the darn thing be wandering?"
The Virgin New Adventures Doctor Who novel, Death and Diplomacy by Dave Stone includes two characters repeating the "Are you pondering..." lines, and near the end, two of the fallen villains in the story recover, one telling his comrade that they must prepare for tomorrow night when they will take over the universe.
This is Not a Game, a novel by Walter Jon Williams begins "Plush dolls of Pinky and the Brain overhung Charlie's Monitor..." and the theme of world domination is central to the plot.
In the game Destroy All Humans!, during the final boss battle against Silhouette when you read her mind one of the things she says is "What do I do? The same thing I do every night. Try and take over the world!"
In the Robot Chicken episode "Kramer vs. Showgirls", a sketch has Michael Moore interviewing cartoon characters from the 1990s, including Pinky and the Brain. Pinky had an ear growing on his back and Brain was moved to another cage, as it turned out his large head was a result of Paget's disease, and he had been rendered blind and had arthritis as a result of the disease. Alan Tudyk voiced Pinky and Seth Green voiced Brain.
Another episode has LaMarche reprising his role of Brain in "Eviscerated Post-Coital by a Six Foot Mantis" in a sketch where Pinky and the Brain get sent on a psychedelic trip after being injected with phencyclidine.
In the MAD episode "Spy vs. Spy Kids/The Superhero Millionaire Matchmaker", Mickey Mouse captures Pinky and the Brain in a cage.
The opening conversation between Pinky and Brain ("Gee, Brain...") that is shown in every episode is sampled in "Joey Bada$$"'s World Domination.
In The New Batman Adventures episode "Torch Song", Batman asks Batgirl "So, what are you doing tonight?" to which Batgirl answers "Same thing we do every night, Pinky!". Batman replies "What?", followed by "Never mind." from Batgirl.
In the first novel of The Laundry Files, The Atrocity Archive, the hero Bob Howard's roommates are nicknamed Pinky and the Brain.
In 2011, a chorus line in the song "Take Over the World" by YouTuber Ray William Johnson (under the channel name Your Favorite Martian) sampled the Pinky and the Brain catchphrase.
In 2014, at the end of Nostalgia Critic's review of The Purge, Rob Paulsen and Maurice LaMarche reprised their roles as Pinky and the Brain respectively, in animated form, at the very end of the episode. The segment involves Brain finally losing his temper with Pinky and spewing profanity-laced insults at him, causing Pinky to burst into tears. The segment then cuts to live-action footage of LaMarche and Paulsen recording their lines, with The Critic behind them. LaMarche asks if this is for a kid's show, to which The Critic says, "Just say it, people have been wanting to hear this for years."
In the web series Camp Camp (created by Rooster Teeth) episode "Journey to Spooky Island", the characters come across a laboratory with horrific experiments gone wrong. One of the cases labeled "Take a Cartoon Literally #303" has a mouse with a grotesquely huge brain and another with its head removed and replaced with a finger. The brainy one writes 'Kill Me' on the glass.
In the 2018 comedy-drama film Tully, Marlo (Charlize Theron) asks the eponymous night nanny (Mackenzie Davis) what she usually does in the daytime, to which Tully replies, "Same thing I do every day, try to take over the world!"
On February 15, 2019, the group Postmodern Jukebox released a video for their rendition of the theme song (done in jazz style); this video featured Rob Paulsen and Maurice LaMarche working at the bar in the background, performing a short monologue as their respective characters in the middle of the video.
In 2019, during one of the final episodes of the animated series My Little Pony: Friendship Is Magic, entitled "The Ending of the End: Part 2", Pinkie Pie asks "What are we gonna do, Twilight?", which Twilight Sparkle replies "The same thing we do every time, Pinkie. Try to save the world!"
In 2021, an image of Brain appears in The Simpsons Season 33 episode "The Wayz We Were".
History
On Animaniacs and Pinky and the Brain
Pinky and the Brain first appeared as a recurring skit on the animated series Animaniacs, another series produced by Steven Spielberg. On September 3, 1993, Pinky and the Brain premiered on television in the episode "Win Big", which aired on the FOX network.
On September 9, 1995, Pinky and the Brain were spun off onto their own half-hour series on Kids' WB!, with each episode consisting of one or more segments, including some of the segments from Animaniacs. The first season was scheduled in a prime time slot from September 10, 1995 through July 21, 1996, as part of the new WB network lineup, with episodes also being repeated within the Saturday morning cartoon block. It had been envisioned for the series to be the WB network's answer to The Simpsons, at that point in its 7th season, which was running on the FOX network. The series tended to have more jokes and humor aimed at adults rather than children. Due to poor ratings following the first season, primarily due to running against 60 Minutes, subsequent seasons were moved to Saturday mornings as part of the Kids' WB! programming block.
Even though they had their own series, they still had several shorts in Animaniacs after they got the series, still appeared in the series' intro and often made cameo appearances.
On Pinky, Elmyra & the Brain
In 1998, the overall structure within the WB Network changed, including the placement of Jamie Kellner as head of the Kids WB! programming. Along with this came pressure on the writers of the series to back off on the idea of world domination and to include more characters on the series. The episode "Pinky and the Brain...and Larry" was a response to this pressure, attempting to show the studio heads that the series was fine as it was, that Pinky and the Brain worked together as a comedy duo - each balancing each other out with their flaws and personalities - and that a third character (or any extra characters at all) would be out of place and thus unnecessary to the plot. At this point, Peter Hastings, a key writer for the series, decided to quit, with his last script being "You'll Never Eat Food Pellets In This Town Again!", directly addressing the issue of network executives trying to retool shows that otherwise already work. Following the production of the episode, the network backed off from forcing new characters into the show.
With increased pressure from the WB network, the series eventually was retooled on September 19, 1998, into Pinky, Elmyra & the Brain, in which Pinky and the Brain were owned by Tiny Toon Adventures character Elmyra Duff; the unusual change in format was even sarcastically noted in the altered title song, with lyrics such as "It's what the network wants, why bother to complain?". The decision was not well received by the existing crew. For one, according to Paulsen, Spielberg had stated that the Tiny Toons and the Animaniacs/Pinky and the Brain universes were to be kept separate. Furthermore, the chemistry between the characters were altered; by introducing Elmyra (who tended to be even more dense than Pinky was), it shifted Pinky to become the useless "Larry" of this series, as described by Paulsen. This series lasted for 13 episodes, six of which were shown unedited and seven of which were split up into segments and aired as a part of The Cat&Birdy Warneroonie PinkyBrainy Big Cartoonie Show.
On the Animaniacs revival
Pinky and the Brain, with voice work by Paulsen and LaMarche, were featured as primary recurring characters along with the Warner siblings as part of the 2020 revival of Animaniacs produced by Amblin and Warner Bros. for broadcast on Hulu. Two seasons of 13 episodes each were ordered, with the first season first broadcast on November 20, 2020 and the second first broadcast on November 5, 2021.
Merchandise
Pinky and the Brain, along with Animaniacs, aired coincident with the formation of the Warner Bros. Studio Store chain across the United States, and, as a result, numerous T-shirts, coffee mugs, stuffed animals, animation cels, and original artwork from the show were available through these outlets. Other merchandise included comic books, computer games, and videotapes. When Warner Brothers acquired the Hanna-Barbera animation properties in 1998, there was a significant decrease with such merchandise through the store. By the time the series was cancelled, very little merchandise was available.
VHS releases
Four VHS collections of Pinky and the Brain episodes were released in 1996 and 1997, each with approximately two to four episodes that included shorts from Animaniacs. These collections are now out of print.
DVD releases
[[File:Pinky and the Brain vol1.jpg|thumb|right|upright| DVD cover for Pinky and the Brain Volume 1]]
Warner Home Video has released all 66 episodes on DVD in Region 1 in a three-volume set.
Comic books
Pinky and the Brain were also regulars in the Animaniacs comic book series published by DC Comics. From July 1996 to November 1998, they also starred in their own comic book series (also published by DC Comics), which ran first for one Christmas Special issue and then 27 regular issues before its cancellation. Following the cancellation of the Pinky and the Brain series, the two mice later starred in stories that took up half of the later issues of the Animaniacs comic book series which, starting at issue #43, was re-titled Animaniacs! featuring Pinky and the Brain and ran for another 16 issues before its cancellation.
Video games
There are two video games based on Pinky and the Brain. The first, a PC game called Pinky and the Brain: World Conquest, was produced by SouthPeak Games and distributed by Warner Bros. The second was Pinky and the Brain: The Master Plan for the Game Boy Advance. The game was produced by Warthog and distributed by SWING! Entertainment in 2002. A third game, titled simply Pinky and the Brain, was announced for the Sega Saturn in 1996 and was planned to be published by Konami, but was later cancelled. The characters have also appeared in several of the Animaniacs video games, such as Animaniacs: The Great Edgar Hunt.
Music
While Pinky and the Brain does not feature as many songs as Animaniacs, some of the music from the show can be found across the three Animaniacs CDs. An expanded version of the Animaniacs'' skit "Bubba Bo Bob Brain" presented in a radio drama or audiobook fashion was released as a read-along book and CD in 1997 by Rhino Entertainment.
See also
Jamie Kellner
References
External links
Animaniacs
1995 American television series debuts
1998 American television series endings
1990s American animated television series
Animaniacs characters
Television duos
Animated duos
DC Comics titles
Fictional genetically engineered characters
Animated television series about mice and rats
Fictional scientists
Television supervillains
Television series created by Tom Ruegger
Kids' WB original shows
Television series by Warner Bros. Animation
Television series by Amblin Entertainment
Television series by Warner Bros. Television Studios
American animated television spin-offs
Annie Award winners
The WB original programming
Cultural depictions of Orson Welles
Male characters in animated series
Animated television characters introduced in 1993
English-language television shows
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[
"Anyone Else may refer to:\n \"Anyone Else\" (Collin Raye song), 1999\n \"Anyone Else\" (Matt Cardle song), 2012",
"\"Anyone Else\" is a song written by Radney Foster, and recorded by American country music artist Collin Raye. It was released in January 1999 as the third and final single from Raye's 1998 album The Walls Came Down. The song reached No. 4 on the Billboard Hot Country Singles & Tracks chart in May 1999 and No. 1 on the RPM Country Tracks chart in Canada.\n\nChart performance\n\"Anyone Else\" debuted at number 66 on the U.S. Billboard Hot Country Singles & Tracks for the week of January 30, 1999.\n\nYear-end charts\n\nReferences\n\n1998 songs\n1999 singles\nCollin Raye songs\nSongs written by Radney Foster\nSong recordings produced by Paul Worley\nSong recordings produced by Billy Joe Walker Jr.\nEpic Records singles"
] |
[
"Pinky and the Brain",
"Other recurring characters",
"who were some recurring characters?",
"Merlin, H.G. Wells, and Ivan Pavlov.",
"anyone else?",
"Snowball the hamster"
] |
C_77efb9c050a640fba93b63e0452d0220_1
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who was on there most often?
| 3 |
who was on Pinky and the Brain most often?
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Pinky and the Brain
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Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and the Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, and Ivan Pavlov. There is very little continuity between episodes outside of the common fixtures of the mice, though some plans for world domination from early episodes are subsequently referred to in later seasons (for example, Brain's "human suit" used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball"). The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people vote that he should take over the world on the one day he does not want to. Both Pinky and the Brain, white mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration; per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme "Gene Splicer, Bagel Warmer, and Hot Dog Steamer." Although Pinky and the Brain plan to conquer the world, they do not show much animosity. In a Christmas special Pinky even wrote to Santa that Brain had the world's best interests at heart. Pinky (voiced by Rob Paulsen) is another genetically modified mouse who shares the same cage as Brain at Acme Labs. Although intelligent in his own right, Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "narf", "zort", "poit", and "troz" (the last of which he started saying after noticing it was "zort in the mirror"). Pinky's appearance is the complete opposite of Brain's--while Brain is short, has a crooked tail and pink eyes, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue eyes, and a severe overbite, is taller than the Brain, and speaks in a higher pitched voice with a Cockney accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my... pinky!" Pinky then responded with "Yes?", believing Brain was referring to him. Pinky is more open-minded, kinder, and happier than the Brain. Troubles never ruin his day, arguably because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles, and abuses him. Pinky actually seems to enjoy this, laughing after he is hit. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought process and how he comes to the strange, seemingly nonsensical responses to the Brain's famous question, "Are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the given night's plot. He is also arguably Brain's moral compass and only real friend. When Pinky sold his soul to get Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence despite his supposed childish stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became President, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for." Snowball the hamster (voiced by Roddy McDowall) is Brain's former friend who was also made intelligent by gene splicing and has a similar desire for world conquest (though far more malevolent than Brain's) which Pinky and the Brain are sometimes forced to stop. Billie (voiced by Tress MacNeille) is a female mouse and another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky. In the episode "You'll Never Eat Food Pellets In This Town Again", it is revealed that Brain is married to Billie (who in real life is Sheila, and hates playing Billie), who pretty much only agreed because he's famous, and eventually kicks him out and makes Brain live in his restaurant. It is later revealed that the events were just a dream. Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love. Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids WB executives to include additional characters on the show. His presence is sporadic as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and The Brain, as they worked best as a comedy duo, and a third character would therefore be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the name "Larry!" shoehorned in between existing lyrics. Other characters that have appeared on the show have included both of Brain's and Pinky's parents and the pair's "child", "Roman Numeral I" (Romy for short) who was a result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton. Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, and Christopher Walken, as was common on other Animaniacs cartoons. CANNOTANSWER
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CANNOTANSWER
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Pinky and the Brain is an American animated television series that was created by Tom Ruegger that premiered on Kids' WB on September 9, 1995. It was the first animated television series to be presented in Dolby Surround and the fourth collaboration of Steven Spielberg with his production company, Amblin Entertainment, and Warner Bros. Animation. The characters first appeared in 1993 as a recurring skit on Animaniacs. It was later spun off as a series due to its popularity, with 66 episodes produced. The characters later appeared in the series Pinky, Elmyra & the Brain, and have since returned to their roots as an Animaniacs skit in the 2020 revival of that series.
Pinky and the Brain are genetically enhanced laboratory mice who reside in a cage in the Acme Labs research facility. Brain is highly intelligent, self-centered and scheming, while Pinky is good-natured but feeble-minded. In each episode, Brain devises a new plan to take over the world which ultimately ends in failure, usually due to the impossibility of Brain's plan, Brain's own arrogance or overconfidence, Pinky's bumbling, something Brain didn’t consider, circumstances beyond their control, or multiples thereof. In common with many other Animaniacs shorts, many episodes are in some way a parody of something else, usually a film or novel.
Premise
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, Ivan Pavlov, and Johannes Gutenberg. There is very little continuity between episodes outside of the common fixtures of the two mice, though some plans for world domination from early episodes are subsequently referred to in later seasons; for example, Brain's mechanical human suit that was first used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball".
The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people votes that he should take over the world on the one day that he does not want to.
Both Pinky and Brain, white lab mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration, per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme Gene Splicer, Bagel Warmer, and Hot Dog Steamer.
Although Pinky and Brain plan to conquer the world, they do not show much animosity. In a Christmas special, Pinky even wrote a letter to Santa Claus saying that Brain had the world's best interests at heart.
Episodes
Characters
Pinky
Pinky (voiced by Rob Paulsen, who also voices Yakko from Animaniacs) is a genetically modified mouse who shares the same cage as Brain at Acme Labs. Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "Narf", "Zort", "Poit", and "Troz", the last of which he started saying after noticing it was "Zort" reflected backwards in a mirror. Pinky's appearance contrasts with Brain's — while Brain is short, has a crooked tail and pink sclerae, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue sclerae, and a severe overbite, is taller than the Brain and speaks in a high-pitched voice with a Cockney British accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my...pinky!" Pinky then responded with "Yes?", believing that Brain was referring to him.
Pinky is more open-minded, kinder, and generally happier than the Brain. Troubles never ruin his day, possibly because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles and even abuses him. Pinky actually seems to enjoy this, often laughing after he is hit on the head. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes, Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought processes and how he comes to the strange, seemingly nonsensical responses to Brain's famous question, "Pinky, are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the plan in the given night's plot.
He is also Brain's moral compass and his only true friend. When Pinky sold his soul to the devil to give Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence, despite his supposed stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became president, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for."
The Brain
The Brain or "Brain" for short (voiced by Maurice LaMarche) looks and sounds like Orson Welles. In "What Ever Happened to Baby Brain", Brain actually crosses paths with Welles, who is working as a busboy in a Hollywood restaurant, and they find themselves inadvertently yelling in unison, "Things will be different when I take over the world!" In "Project B.R.A.I.N.", Brain's name is the backronym for the eponymous project: "Biological Recombinant Algorithmic Intelligence Nexus". His tail is angular and bent — he often uses it to pick the lock of the cage door — and his head is large and wide, housing his abnormally large brain. He is highly intelligent and develops complex plans for global domination using politics, cultural references, and his own inventions toward his goal. He seems coldly unemotional, speaking in a snarky deadpan voice. Nevertheless, Brain has a subtle sense of humor and has even fallen in love, with Trudie in the episode "The Third Mouse" and with Billie in "The World Can Wait". Due to his stature and megalomania, Brain has been compared to Don Quixote and has been called a pop culture depiction of Napoleon Bonaparte.
Brain sees his inevitable rise to power as good for the world and not as mere megalomania. In Animaniacs: Wakko's Wish, he said to Pinky "We're on our way to fame, fortune and a world that's a better place for all." Many of the Brain's plots had the endgame of winning over the people's hearts and then having them make him their ruler. However, his motives are not pure. In one episode, Brain finds himself hypnotized by a psychologist whom he had planned to manipulate for one of his schemes, who turns out to be none other than Sigmund Freud. There Brain reveals that he originally lived with his parents in a tin can at the base of a tree in a large field. When he was young, ACME researchers captured Brain and took him from his home, and the last he saw of it was a picture of the world on the side of the can. Dr. Freud speculates that Brain's hunger to take over the world is misplaced, and that all he really wants is to go back home to his parents. According to the creators, Brain wants to take over the world not for the sake of being a dictator, like his rival Snowball, but because he believes that he could do a much better job of it than the people currently in charge. Brain has even helped save the world by doing everything in his power to prevent Snowball's evil schemes, knowing that a world under Snowball's rule would be a worst-case scenario. In the 2020 Animaniacs reboot, Brain gains a new rival in taking over the world in the form of his wife, Senator Julia Brain, after his attempts to mind-control her into becoming a puppet ruler for him led to her becoming insane.
Other recurring characters
Snowball the hamster (voiced by Roddy McDowall) is Brain's former childhood friend-turned-rival who was also made intelligent by gene splicing and has a similar desire for world conquest (though his desire is far more malevolent than Brain's) which Pinky and Brain are sometimes forced to stop.
Billie (voiced by Tress MacNeille) is a female white mouse and yet another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky instead. In the episode "You'll Never Eat Food Pellets In This Town Again!", it is revealed that Brain is married to Billie (who in real life is named Sheila and hates playing Billie), who pretty much agreed to marry him only because he is famous, and eventually kicks him out and makes him live in his restaurant. It is later revealed that the events were just a dream.
Pharfignewton (voiced by Frank Welker) is a white racing mare, with whom Pinky falls in love. Though Brain constantly tells Pinky that he is a mouse and Pharfignewton is a horse, Pinky always chooses not to listen to him.
Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids' WB executives to include additional characters on the show. His presence is sporadic, as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and Brain, as they worked best as a comedy duo; thus a third character would, therefore, be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the words "and Larry!" shoehorned in between existing lyrics. He is a caricature of Larry Fine of The Three Stooges fame; therefore, the episode's title is "Pinky and the Brain...and Larry".
Other characters that have appeared on the series have included both of Brain's and Pinky's parents and the duo's "son", "Roman Numeral I" (Romy for short) another white mouse who was the result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton, Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, Jim Nabors as Gomer Pyle, and Christopher Walken, as was common on other Animaniacs cartoons.
Creation and inspiration
Pinky and the Brain was inspired by the peculiar personalities of two producers of Tom Ruegger's earlier show Tiny Toon Adventures, Eddie Fitzgerald and Tom Minton, respectively. The two worked in the same office at Warner Bros. Animation and developed interesting personalities that the other staff had picked up on; Ruegger said that Minton seemed to be always scheming to take over the world, while Fitzgerald comedically agreed with him, injecting nonsense words like "Narf" and "Egad" around the office. The gag credit for the Tiny Toon Adventures episode "You Asked For It" credits Eddie Fitzgerald as "Guy Who Says 'Narf'". Series producer Peter Hastings described Eddie by saying, "He always greeted you like you were wearing a funny hat – and he liked it." During the development of Animaniacs, animator Bruce Timm drew caricatures of Minton and Fitzgerald, and Ruegger then added mouse ears and noses to the drawing, cementing the concept for Pinky and the Brain. The Fitzgerald/Minton connection to Pinky and the Brain is shown in the episode "The Pinky and the Brain Reunion Special". Two characters shown as writers for Pinky and the Brain cartoons within the short are caricatures of Fitzgerald and Minton.
While Ruegger initially based the Brain after Minton, the Welles connection came from Maurice LaMarche, a big fan of the actor/director, who had supplied the voice for Orson Welles in the 1994 movie Ed Wood. LaMarche stated that on coming in to audition for the character of the Brain, he saw the resemblance to Welles and went with that for the voice, and he was given the role on the spot. LaMarche describes Brain's voice as "65% Orson Welles, 35% Vincent Price".
Brain's similarity to Orson Welles was made explicit in the Animaniacs episode "Yes, Always", which was based upon an outtake from one of Welles' television commercials, colloquially known as Frozen Peas, in which he ranted about the poor quality of the script. This cartoon was described by writer Peter Hastings as "a $250,000 inside joke": LaMarche used excerpts from it as sound check material before recording episodes, and Hastings took it to its logical conclusion. The writers developed the script in secret playing off these test lines and the Frozen Peas outtakes, and arranged to have recording on the same day as Sam Kinison's funeral, whom LaMarche was a close friend of. Prior to LaMarche's arrival, the other voice actors, including Paulsen, recognized the humor of the script after they started reading it. According to Paulsen, when LaMarche arrived, he had originally kept his professionalism after the funeral, but broke down in happiness as he recognized the script for what it was. The series also alluded to Welles with an episode in which Brain took on the mind-clouding powers of a radio character called "The Fog": a parody of The Shadow, a popular radio character for which Welles once provided the voice. Other Welles allusions included the episode "The Third Mouse", a parody of The Third Man in which the Brain played the part of Welles' character Harry Lime (with Pinky as Holly Martins), and "Battle for the Planet", in which Brain, inspired by Welles' infamous War of the Worlds radio broadcast and the hysteria that it provoked, stages an alien invasion on television. A caricature of Orson Welles appears in a late episode of the series ("What Ever Happened to Baby Brain"), echoing a rant of the Brain's and introducing himself afterwards.
Paulsen had already been selected to voice Pinky as he was already voicing Yakko Warner for Animaniacs. Paulsen, taking inspiration from British comedies such as Monty Python's Flying Circus, The Goon Show, and Peter Sellers, soon gave Pinky "a goofy whack job" of a British accent for the character.
The episode "Win Big" was the very first Pinky and the Brain skit. It was developed for Animaniacs, written by Ruegger with a script by Peter Hastings, and directed by Rusty Mills. According to Ruegger, most of the elements that would become part of Pinky and the Brain can be found in Hastings's original script. It held many dialogue bits that became conventions of the entire series, including Brain's "Pinky, are you pondering what I'm pondering?", Pinky's "Oh...wait, no." in response to a plan, and Pinky's final question, "Why, Brain? What are we going to do tomorrow night?"
Production
Producers
As with Animaniacs, Steven Spielberg was the executive producer during the entire run, Tom Ruegger was the senior producer, Jean MacCurdy was the executive in charge of production, and Andrea Romano was the voice director. Peter Hastings, Rusty Mills and Liz Holzman produced the series when it was spun off from Animaniacs, as well as the season it ran primetime on the WB. After the first season Hastings left the show and Mills took over as the supervising producer.
Writing
The original Pinky and the Brain shorts on Animaniacs were written primarily by Peter Hastings. Upon moving into its own series, the writing staff included Gordon Bressack, Charles M. Howell IV, Earl Kress, Wendell Morris, and Tom Sheppard. Comedian Alex Borstein was also a staff writer, years before her fame on MADTV and Family Guy. Classic Warner Bros. cartoon director Norm McCabe also wrote for the series.
Voice actors
Pinky and the Brain were voiced by Rob Paulsen and Maurice LaMarche, respectively. The series also used the work of many of the same voice actors for Animaniacs, including Tress MacNeille, Jess Harnell, Frank Welker, Nancy Cartwright, Janet Waldo and Jeff Bennett. Celebrities such as Roddy McDowall, Nora Dunn, Townsend Coleman, Ernest Borgnine, Eric Idle, Dick Clark, Ed McMahon, Steve Allen, Joyce Brothers, Gavin MacLeod, John Tesh, Michael McKean, Garry Marshall, Mark Hamill, James Belushi, and Steven Spielberg have all performed guest voice work for the series as well.
Cree Summer has also voiced characters in Pinky and the Brain and reprised her role as Elmyra Duff during Pinky, Elmyra & the Brain.
Music
As with Animaniacs, Pinky and the Brain was scored by a team of composers, led by Emmy-Award-winning composer Richard Stone. This team included Steven Bernstein and Julie Bernstein, who also orchestrated and sometimes conducted the 40-piece orchestra. The recordings were done on Stage A on the Warner Bros lot, the same stage (and with the same piano) where Carl Stalling recorded his Looney Tunes music. The theme song for Pinky and the Brain was composed by Richard Stone with lyrics by Tom Ruegger.
Two versions of the opening sequence and theme, with slightly different lyrics, were used during the Animaniacs skits. In the first version, Yakko, Wakko, and Dot (voiced respectively by Paulsen, Harnell, and MacNeille) popped up in the lab and sang the theme while letting the two mice out of their cage. The second, later version had the singers off-camera as the Brain picked the lock on the cage door with a small needle to free himself and Pinky. On the Pinky and the Brain series, the theme gained an additional two verses and was sung by Harnell, Dorian Harewood, Jim Cummings, and Paulsen.
The score sometimes includes references to classical music. For example, in the episode where the Brain builds a new papier-mâché Earth, the theme from the 2nd and 4th movements of Dvořák's New World Symphony can be heard throughout the episode. The episode Napoleon Brainaparte makes frequent reference to the French anthem, La Marseillaise, while in the episode in which Pinky becomes the artist "Pinkasso", Mussorgsky's Pictures at an Exhibition can be heard.
Animation
Like Animaniacs, most of the original Pinky and the Brain skits used a variety of animation studios, including Tokyo Movie Shinsha, StarToons, Wang Film Productions, and AKOM. The bulk of the episodes created outside of Animaniacs (seasons 2 and beyond) were produced by Rough Draft Studios, Wang Film Productions and AKOM. The only episode that was animated by Tokyo Movie Shinsha on the spin-off series was A Pinky and the Brain Christmas.
Humor
Like Animaniacs, much of the humor in Pinky and the Brain was aimed at adult audiences. Parodies of pop culture icons were quite common on the series, more so during the original episodes developed for the WB prime time slot. In addition to previously mentioned political and actor caricatures, some episodes included complete parodies like those in Animaniacs. The episode "The Megalomaniacal Adventures of Brainie the Poo" parodies The Many Adventures of Winnie the Pooh (or simply Winnie the Pooh). "Cameos" include Jagger instead of Tigger and Algore instead of Eeyore. Algore is "full of hot air", and shown floating like a balloon. Other parodic elements include Christopher Walken in place of Christopher Robin and the "Brainie the Poo" book appears to have been authored by "A. A. Meeting." The three-part episode "Brainwashed" included several allusions to the television show The Prisoner, though everyone in this version of the Village was identified by the hat that they wore, and not by a number.
Three songs resemble the musical skits in Animaniacs, matching existing music with new lyrics. Pinky sings "Cheese Roll Call" to John Philip Sousa's march "Semper Fidelis" praising his love for all cheeses from around the world. To the music of "Camptown Races", Brain lists the major parts of the human brain, with Pinky jumping in at the chorus to shout "Brainstem! Brainstem!". "A Meticulous Analysis of History" is set to "When I Was a Lad" from Gilbert and Sullivan's H.M.S. Pinafore, and sung by both Brain and Pinky, with Brain reciting the rise to power of such historical leaders as Napoleon and Cleopatra, while Pinky mentions how they all fell. In addition, "Brainwashed" featured a song called the Schmëerskåhøvên, a parody of the Macarena, which would brainwash people if it was done correctly. The song includes such odd lyrics as "Put your fingers in your ears, then stick them in your belly" and "Bop yourself on the head and cross your eyes."
Like Animaniacs, there was a gag credit in the closing credits: each show featured an English word appropriate for the episode with its definition. For example, "Around the World in 80 Narfs", where the mice are foiled by trying to speak "New York cabbie" and end up going in circles in one location, the gag credit word was "anophelosis" defined as "morbid state due to extreme frustration".
Another common element in nearly every episode is the following exchange (often referred to by the acronym "AYPWIP"):
Brain: Pinky, are you pondering what I'm pondering?Pinky: I think so, Brain, but...
Pinky's response ends with a non sequitur such as, "we're already naked", "isn't a cucumber that small called a gherkin?" or "if they called them Sad Meals, kids wouldn't buy them." Brain would then become furious, often bashing Pinky on the head. A few times in the series Pinky and Brain indeed pondered the same thing, though in one of these Pinky dismissed his idea as being too stupid. Just one time the answer was "Yes I am!", when Pinky's intelligence is elevated to match Brain's. In another episode, it turns out that what Pinky was pondering was that he and Brain never ponder the same thing, which turned out to be part of what Brain was pondering as well. In a short episode ("Pinky's P.O.V.") the spectator sees everything Pinky sees (including his imaginations) and hears his thoughts. His brain seems to censor a large portion of Brain's dialogue, leaving Pinky to wander into random internal tangents until Brain asks the question. Pinky then responds with whatever was on his mind at the end of the tangent.
Response
Popularity
Pinky and the Brain were popular on Animaniacs, and the popularity continued into their own series. It attracted many of the same fans as Animaniacs and Internet outreach attracted more. Maurice LaMarche and Rob Paulsen appeared on voice actor tours around the Warner Bros. Studio Stores.
In an interview on the third DVD volume, LaMarche and Paulsen noted that Roy Langbord (vice-president of Showtime), Al Franken, and Barenaked Ladies are fans of the shows. Naughty Dog co-founder Jason Rubin was also fond of the series; the character of the Brain served as an influence in the creation of Doctor Neo Cortex, the main antagonist of the Crash Bandicoot video game series.
Nominations and awards
Pinky and the Brain won several Emmy and Annie Awards. In 1996, the series won an Emmy Award for Outstanding Animated Program for the episode A Pinky and the Brain Christmas. Paulsen won the Annie Award for Outstanding Individual Achievement for "Voice Acting by a Male Performer in an Animated Television Program Production" in 1996 and 1997, while LaMarche won the same in 1998. Paulsen also won an Emmy Award for Outstanding Performer in an Animated Program for his role as Pinky subsequently in 1999. The series itself won the 1999 Daytime Emmy for "Outstanding Special Class Animated Program".
The episode "Inherit the Wheeze", in which Brain was subject to the effects of smoking by a tobacco company, won a PRISM Award for its anti-smoking message.
References in other media
The Rice University Neologism dictionary includes not only "narf" as a random sound or nonce word, but also "narfed" as a verb to mean "to be struck completely" with some embarrassment or folly, much as Pinky would be hit on the head by Brain after his follies ruined Brain's plan. The International Dictionary of Neologisms includes the word "narfistic" as "an idea or concept that works fine when you think about it – but is very difficult to express to someone else", as a result of Pinky only saying "Narf!" after Brain elaborates on one of his extensive plans.
In one of the host segments in the Hobgoblins episode of Mystery Science Theater 3000, Pearl Forrester summons her sidekicks Professor Bobo and Observer over by calling, "Pinky! Brain!"
In the post-apocalyptic role-playing game Fallout 2 by Interplay, a couple of mutant albino mole rats appear. One creature is utterly insane, muttering intentions of taking rulership. The other is a highly intelligent cult leader who has intricate plans to claim domination of the post-apocalyptic world; he also has a taste for Cheezy Poofs.
Pinky and the Brain were alluded to in The Incredible Hulk #438 as two white mice kept by Omnibus. One of the realistically drawn mice had an enlarged cranium, and when their cage was destroyed the sound "narf" is indicated. Also, when Jailbait asked what they would do during the night, Hotshot replied "The same thing they do every night...whatever that is."
The track "Great Day" on the album Madvillainy by the eponymous duo of MF Doom and Madlib features a reference to one of Brain's famous catchphrases: "DOOM, are you pondering what I'm pondering?/Yes, but why would the darn thing be wandering?"
The Virgin New Adventures Doctor Who novel, Death and Diplomacy by Dave Stone includes two characters repeating the "Are you pondering..." lines, and near the end, two of the fallen villains in the story recover, one telling his comrade that they must prepare for tomorrow night when they will take over the universe.
This is Not a Game, a novel by Walter Jon Williams begins "Plush dolls of Pinky and the Brain overhung Charlie's Monitor..." and the theme of world domination is central to the plot.
In the game Destroy All Humans!, during the final boss battle against Silhouette when you read her mind one of the things she says is "What do I do? The same thing I do every night. Try and take over the world!"
In the Robot Chicken episode "Kramer vs. Showgirls", a sketch has Michael Moore interviewing cartoon characters from the 1990s, including Pinky and the Brain. Pinky had an ear growing on his back and Brain was moved to another cage, as it turned out his large head was a result of Paget's disease, and he had been rendered blind and had arthritis as a result of the disease. Alan Tudyk voiced Pinky and Seth Green voiced Brain.
Another episode has LaMarche reprising his role of Brain in "Eviscerated Post-Coital by a Six Foot Mantis" in a sketch where Pinky and the Brain get sent on a psychedelic trip after being injected with phencyclidine.
In the MAD episode "Spy vs. Spy Kids/The Superhero Millionaire Matchmaker", Mickey Mouse captures Pinky and the Brain in a cage.
The opening conversation between Pinky and Brain ("Gee, Brain...") that is shown in every episode is sampled in "Joey Bada$$"'s World Domination.
In The New Batman Adventures episode "Torch Song", Batman asks Batgirl "So, what are you doing tonight?" to which Batgirl answers "Same thing we do every night, Pinky!". Batman replies "What?", followed by "Never mind." from Batgirl.
In the first novel of The Laundry Files, The Atrocity Archive, the hero Bob Howard's roommates are nicknamed Pinky and the Brain.
In 2011, a chorus line in the song "Take Over the World" by YouTuber Ray William Johnson (under the channel name Your Favorite Martian) sampled the Pinky and the Brain catchphrase.
In 2014, at the end of Nostalgia Critic's review of The Purge, Rob Paulsen and Maurice LaMarche reprised their roles as Pinky and the Brain respectively, in animated form, at the very end of the episode. The segment involves Brain finally losing his temper with Pinky and spewing profanity-laced insults at him, causing Pinky to burst into tears. The segment then cuts to live-action footage of LaMarche and Paulsen recording their lines, with The Critic behind them. LaMarche asks if this is for a kid's show, to which The Critic says, "Just say it, people have been wanting to hear this for years."
In the web series Camp Camp (created by Rooster Teeth) episode "Journey to Spooky Island", the characters come across a laboratory with horrific experiments gone wrong. One of the cases labeled "Take a Cartoon Literally #303" has a mouse with a grotesquely huge brain and another with its head removed and replaced with a finger. The brainy one writes 'Kill Me' on the glass.
In the 2018 comedy-drama film Tully, Marlo (Charlize Theron) asks the eponymous night nanny (Mackenzie Davis) what she usually does in the daytime, to which Tully replies, "Same thing I do every day, try to take over the world!"
On February 15, 2019, the group Postmodern Jukebox released a video for their rendition of the theme song (done in jazz style); this video featured Rob Paulsen and Maurice LaMarche working at the bar in the background, performing a short monologue as their respective characters in the middle of the video.
In 2019, during one of the final episodes of the animated series My Little Pony: Friendship Is Magic, entitled "The Ending of the End: Part 2", Pinkie Pie asks "What are we gonna do, Twilight?", which Twilight Sparkle replies "The same thing we do every time, Pinkie. Try to save the world!"
In 2021, an image of Brain appears in The Simpsons Season 33 episode "The Wayz We Were".
History
On Animaniacs and Pinky and the Brain
Pinky and the Brain first appeared as a recurring skit on the animated series Animaniacs, another series produced by Steven Spielberg. On September 3, 1993, Pinky and the Brain premiered on television in the episode "Win Big", which aired on the FOX network.
On September 9, 1995, Pinky and the Brain were spun off onto their own half-hour series on Kids' WB!, with each episode consisting of one or more segments, including some of the segments from Animaniacs. The first season was scheduled in a prime time slot from September 10, 1995 through July 21, 1996, as part of the new WB network lineup, with episodes also being repeated within the Saturday morning cartoon block. It had been envisioned for the series to be the WB network's answer to The Simpsons, at that point in its 7th season, which was running on the FOX network. The series tended to have more jokes and humor aimed at adults rather than children. Due to poor ratings following the first season, primarily due to running against 60 Minutes, subsequent seasons were moved to Saturday mornings as part of the Kids' WB! programming block.
Even though they had their own series, they still had several shorts in Animaniacs after they got the series, still appeared in the series' intro and often made cameo appearances.
On Pinky, Elmyra & the Brain
In 1998, the overall structure within the WB Network changed, including the placement of Jamie Kellner as head of the Kids WB! programming. Along with this came pressure on the writers of the series to back off on the idea of world domination and to include more characters on the series. The episode "Pinky and the Brain...and Larry" was a response to this pressure, attempting to show the studio heads that the series was fine as it was, that Pinky and the Brain worked together as a comedy duo - each balancing each other out with their flaws and personalities - and that a third character (or any extra characters at all) would be out of place and thus unnecessary to the plot. At this point, Peter Hastings, a key writer for the series, decided to quit, with his last script being "You'll Never Eat Food Pellets In This Town Again!", directly addressing the issue of network executives trying to retool shows that otherwise already work. Following the production of the episode, the network backed off from forcing new characters into the show.
With increased pressure from the WB network, the series eventually was retooled on September 19, 1998, into Pinky, Elmyra & the Brain, in which Pinky and the Brain were owned by Tiny Toon Adventures character Elmyra Duff; the unusual change in format was even sarcastically noted in the altered title song, with lyrics such as "It's what the network wants, why bother to complain?". The decision was not well received by the existing crew. For one, according to Paulsen, Spielberg had stated that the Tiny Toons and the Animaniacs/Pinky and the Brain universes were to be kept separate. Furthermore, the chemistry between the characters were altered; by introducing Elmyra (who tended to be even more dense than Pinky was), it shifted Pinky to become the useless "Larry" of this series, as described by Paulsen. This series lasted for 13 episodes, six of which were shown unedited and seven of which were split up into segments and aired as a part of The Cat&Birdy Warneroonie PinkyBrainy Big Cartoonie Show.
On the Animaniacs revival
Pinky and the Brain, with voice work by Paulsen and LaMarche, were featured as primary recurring characters along with the Warner siblings as part of the 2020 revival of Animaniacs produced by Amblin and Warner Bros. for broadcast on Hulu. Two seasons of 13 episodes each were ordered, with the first season first broadcast on November 20, 2020 and the second first broadcast on November 5, 2021.
Merchandise
Pinky and the Brain, along with Animaniacs, aired coincident with the formation of the Warner Bros. Studio Store chain across the United States, and, as a result, numerous T-shirts, coffee mugs, stuffed animals, animation cels, and original artwork from the show were available through these outlets. Other merchandise included comic books, computer games, and videotapes. When Warner Brothers acquired the Hanna-Barbera animation properties in 1998, there was a significant decrease with such merchandise through the store. By the time the series was cancelled, very little merchandise was available.
VHS releases
Four VHS collections of Pinky and the Brain episodes were released in 1996 and 1997, each with approximately two to four episodes that included shorts from Animaniacs. These collections are now out of print.
DVD releases
[[File:Pinky and the Brain vol1.jpg|thumb|right|upright| DVD cover for Pinky and the Brain Volume 1]]
Warner Home Video has released all 66 episodes on DVD in Region 1 in a three-volume set.
Comic books
Pinky and the Brain were also regulars in the Animaniacs comic book series published by DC Comics. From July 1996 to November 1998, they also starred in their own comic book series (also published by DC Comics), which ran first for one Christmas Special issue and then 27 regular issues before its cancellation. Following the cancellation of the Pinky and the Brain series, the two mice later starred in stories that took up half of the later issues of the Animaniacs comic book series which, starting at issue #43, was re-titled Animaniacs! featuring Pinky and the Brain and ran for another 16 issues before its cancellation.
Video games
There are two video games based on Pinky and the Brain. The first, a PC game called Pinky and the Brain: World Conquest, was produced by SouthPeak Games and distributed by Warner Bros. The second was Pinky and the Brain: The Master Plan for the Game Boy Advance. The game was produced by Warthog and distributed by SWING! Entertainment in 2002. A third game, titled simply Pinky and the Brain, was announced for the Sega Saturn in 1996 and was planned to be published by Konami, but was later cancelled. The characters have also appeared in several of the Animaniacs video games, such as Animaniacs: The Great Edgar Hunt.
Music
While Pinky and the Brain does not feature as many songs as Animaniacs, some of the music from the show can be found across the three Animaniacs CDs. An expanded version of the Animaniacs'' skit "Bubba Bo Bob Brain" presented in a radio drama or audiobook fashion was released as a read-along book and CD in 1997 by Rhino Entertainment.
See also
Jamie Kellner
References
External links
Animaniacs
1995 American television series debuts
1998 American television series endings
1990s American animated television series
Animaniacs characters
Television duos
Animated duos
DC Comics titles
Fictional genetically engineered characters
Animated television series about mice and rats
Fictional scientists
Television supervillains
Television series created by Tom Ruegger
Kids' WB original shows
Television series by Warner Bros. Animation
Television series by Amblin Entertainment
Television series by Warner Bros. Television Studios
American animated television spin-offs
Annie Award winners
The WB original programming
Cultural depictions of Orson Welles
Male characters in animated series
Animated television characters introduced in 1993
English-language television shows
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"Victor Anastasi (1913–1992) was a Maltese designer. He worked as a draughtsman with the Public Works Department, and although he never formally studied architecture, he was involved in the design process of numerous buildings. He was an admirer of Italian architecture, and often traveled to Rome where he often met with Maltese artists who were studying there.\n\nHis most famous work is the Triton Fountain in Valletta, which he designed along with the sculptor Vincent Apap in the 1950s. Anastasi designed the architectural and technical elements of the fountain, while Apap worked on the sculpture of the three bronze Tritons. Anastasi was not mentioned on the fountain's proposal since PWD employees were ineligible in the competition.\n\nHe also designed the Malta College of Arts, Science and Technology (now the Ġ. F. Abela Junior College) in Msida, which was designed and built between 1962 and 1966.\n\nReferences\n\n1913 births\n1992 deaths\nMaltese designers\nArchitectural designers\nDraughtsmen\n20th-century Maltese architects",
"The FOW Hardcore Championship was a professional wrestling title in American independent promotion Future of Wrestling. The title was created when \"Mr. Extreme\" Pat McGuire won the title in Oakland Park, Florida on October 8, 1998. It was defended throughout southern Florida, most often in Oakland Park, Davie and Plantation, Florida. There have been a total of 9 recognized individual champions, who have had a combined 10 official reigns.\n\nTitle History\n\nCombined reigns\n\nReferences\n\nExternal links\nFOW Official Title History\n\nHardcore wrestling championships"
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[
"Pinky and the Brain",
"Other recurring characters",
"who were some recurring characters?",
"Merlin, H.G. Wells, and Ivan Pavlov.",
"anyone else?",
"Snowball the hamster",
"who was on there most often?",
"I don't know."
] |
C_77efb9c050a640fba93b63e0452d0220_1
|
were there other recurring characters?
| 4 |
Besides Snowball the hamster, were there other recurring characters on Pinky and the Brain?
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Pinky and the Brain
|
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and the Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, and Ivan Pavlov. There is very little continuity between episodes outside of the common fixtures of the mice, though some plans for world domination from early episodes are subsequently referred to in later seasons (for example, Brain's "human suit" used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball"). The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people vote that he should take over the world on the one day he does not want to. Both Pinky and the Brain, white mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration; per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme "Gene Splicer, Bagel Warmer, and Hot Dog Steamer." Although Pinky and the Brain plan to conquer the world, they do not show much animosity. In a Christmas special Pinky even wrote to Santa that Brain had the world's best interests at heart. Pinky (voiced by Rob Paulsen) is another genetically modified mouse who shares the same cage as Brain at Acme Labs. Although intelligent in his own right, Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "narf", "zort", "poit", and "troz" (the last of which he started saying after noticing it was "zort in the mirror"). Pinky's appearance is the complete opposite of Brain's--while Brain is short, has a crooked tail and pink eyes, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue eyes, and a severe overbite, is taller than the Brain, and speaks in a higher pitched voice with a Cockney accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my... pinky!" Pinky then responded with "Yes?", believing Brain was referring to him. Pinky is more open-minded, kinder, and happier than the Brain. Troubles never ruin his day, arguably because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles, and abuses him. Pinky actually seems to enjoy this, laughing after he is hit. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought process and how he comes to the strange, seemingly nonsensical responses to the Brain's famous question, "Are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the given night's plot. He is also arguably Brain's moral compass and only real friend. When Pinky sold his soul to get Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence despite his supposed childish stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became President, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for." Snowball the hamster (voiced by Roddy McDowall) is Brain's former friend who was also made intelligent by gene splicing and has a similar desire for world conquest (though far more malevolent than Brain's) which Pinky and the Brain are sometimes forced to stop. Billie (voiced by Tress MacNeille) is a female mouse and another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky. In the episode "You'll Never Eat Food Pellets In This Town Again", it is revealed that Brain is married to Billie (who in real life is Sheila, and hates playing Billie), who pretty much only agreed because he's famous, and eventually kicks him out and makes Brain live in his restaurant. It is later revealed that the events were just a dream. Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love. Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids WB executives to include additional characters on the show. His presence is sporadic as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and The Brain, as they worked best as a comedy duo, and a third character would therefore be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the name "Larry!" shoehorned in between existing lyrics. Other characters that have appeared on the show have included both of Brain's and Pinky's parents and the pair's "child", "Roman Numeral I" (Romy for short) who was a result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton. Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, and Christopher Walken, as was common on other Animaniacs cartoons. CANNOTANSWER
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Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love.
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Pinky and the Brain is an American animated television series that was created by Tom Ruegger that premiered on Kids' WB on September 9, 1995. It was the first animated television series to be presented in Dolby Surround and the fourth collaboration of Steven Spielberg with his production company, Amblin Entertainment, and Warner Bros. Animation. The characters first appeared in 1993 as a recurring skit on Animaniacs. It was later spun off as a series due to its popularity, with 66 episodes produced. The characters later appeared in the series Pinky, Elmyra & the Brain, and have since returned to their roots as an Animaniacs skit in the 2020 revival of that series.
Pinky and the Brain are genetically enhanced laboratory mice who reside in a cage in the Acme Labs research facility. Brain is highly intelligent, self-centered and scheming, while Pinky is good-natured but feeble-minded. In each episode, Brain devises a new plan to take over the world which ultimately ends in failure, usually due to the impossibility of Brain's plan, Brain's own arrogance or overconfidence, Pinky's bumbling, something Brain didn’t consider, circumstances beyond their control, or multiples thereof. In common with many other Animaniacs shorts, many episodes are in some way a parody of something else, usually a film or novel.
Premise
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, Ivan Pavlov, and Johannes Gutenberg. There is very little continuity between episodes outside of the common fixtures of the two mice, though some plans for world domination from early episodes are subsequently referred to in later seasons; for example, Brain's mechanical human suit that was first used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball".
The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people votes that he should take over the world on the one day that he does not want to.
Both Pinky and Brain, white lab mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration, per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme Gene Splicer, Bagel Warmer, and Hot Dog Steamer.
Although Pinky and Brain plan to conquer the world, they do not show much animosity. In a Christmas special, Pinky even wrote a letter to Santa Claus saying that Brain had the world's best interests at heart.
Episodes
Characters
Pinky
Pinky (voiced by Rob Paulsen, who also voices Yakko from Animaniacs) is a genetically modified mouse who shares the same cage as Brain at Acme Labs. Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "Narf", "Zort", "Poit", and "Troz", the last of which he started saying after noticing it was "Zort" reflected backwards in a mirror. Pinky's appearance contrasts with Brain's — while Brain is short, has a crooked tail and pink sclerae, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue sclerae, and a severe overbite, is taller than the Brain and speaks in a high-pitched voice with a Cockney British accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my...pinky!" Pinky then responded with "Yes?", believing that Brain was referring to him.
Pinky is more open-minded, kinder, and generally happier than the Brain. Troubles never ruin his day, possibly because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles and even abuses him. Pinky actually seems to enjoy this, often laughing after he is hit on the head. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes, Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought processes and how he comes to the strange, seemingly nonsensical responses to Brain's famous question, "Pinky, are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the plan in the given night's plot.
He is also Brain's moral compass and his only true friend. When Pinky sold his soul to the devil to give Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence, despite his supposed stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became president, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for."
The Brain
The Brain or "Brain" for short (voiced by Maurice LaMarche) looks and sounds like Orson Welles. In "What Ever Happened to Baby Brain", Brain actually crosses paths with Welles, who is working as a busboy in a Hollywood restaurant, and they find themselves inadvertently yelling in unison, "Things will be different when I take over the world!" In "Project B.R.A.I.N.", Brain's name is the backronym for the eponymous project: "Biological Recombinant Algorithmic Intelligence Nexus". His tail is angular and bent — he often uses it to pick the lock of the cage door — and his head is large and wide, housing his abnormally large brain. He is highly intelligent and develops complex plans for global domination using politics, cultural references, and his own inventions toward his goal. He seems coldly unemotional, speaking in a snarky deadpan voice. Nevertheless, Brain has a subtle sense of humor and has even fallen in love, with Trudie in the episode "The Third Mouse" and with Billie in "The World Can Wait". Due to his stature and megalomania, Brain has been compared to Don Quixote and has been called a pop culture depiction of Napoleon Bonaparte.
Brain sees his inevitable rise to power as good for the world and not as mere megalomania. In Animaniacs: Wakko's Wish, he said to Pinky "We're on our way to fame, fortune and a world that's a better place for all." Many of the Brain's plots had the endgame of winning over the people's hearts and then having them make him their ruler. However, his motives are not pure. In one episode, Brain finds himself hypnotized by a psychologist whom he had planned to manipulate for one of his schemes, who turns out to be none other than Sigmund Freud. There Brain reveals that he originally lived with his parents in a tin can at the base of a tree in a large field. When he was young, ACME researchers captured Brain and took him from his home, and the last he saw of it was a picture of the world on the side of the can. Dr. Freud speculates that Brain's hunger to take over the world is misplaced, and that all he really wants is to go back home to his parents. According to the creators, Brain wants to take over the world not for the sake of being a dictator, like his rival Snowball, but because he believes that he could do a much better job of it than the people currently in charge. Brain has even helped save the world by doing everything in his power to prevent Snowball's evil schemes, knowing that a world under Snowball's rule would be a worst-case scenario. In the 2020 Animaniacs reboot, Brain gains a new rival in taking over the world in the form of his wife, Senator Julia Brain, after his attempts to mind-control her into becoming a puppet ruler for him led to her becoming insane.
Other recurring characters
Snowball the hamster (voiced by Roddy McDowall) is Brain's former childhood friend-turned-rival who was also made intelligent by gene splicing and has a similar desire for world conquest (though his desire is far more malevolent than Brain's) which Pinky and Brain are sometimes forced to stop.
Billie (voiced by Tress MacNeille) is a female white mouse and yet another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky instead. In the episode "You'll Never Eat Food Pellets In This Town Again!", it is revealed that Brain is married to Billie (who in real life is named Sheila and hates playing Billie), who pretty much agreed to marry him only because he is famous, and eventually kicks him out and makes him live in his restaurant. It is later revealed that the events were just a dream.
Pharfignewton (voiced by Frank Welker) is a white racing mare, with whom Pinky falls in love. Though Brain constantly tells Pinky that he is a mouse and Pharfignewton is a horse, Pinky always chooses not to listen to him.
Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids' WB executives to include additional characters on the show. His presence is sporadic, as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and Brain, as they worked best as a comedy duo; thus a third character would, therefore, be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the words "and Larry!" shoehorned in between existing lyrics. He is a caricature of Larry Fine of The Three Stooges fame; therefore, the episode's title is "Pinky and the Brain...and Larry".
Other characters that have appeared on the series have included both of Brain's and Pinky's parents and the duo's "son", "Roman Numeral I" (Romy for short) another white mouse who was the result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton, Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, Jim Nabors as Gomer Pyle, and Christopher Walken, as was common on other Animaniacs cartoons.
Creation and inspiration
Pinky and the Brain was inspired by the peculiar personalities of two producers of Tom Ruegger's earlier show Tiny Toon Adventures, Eddie Fitzgerald and Tom Minton, respectively. The two worked in the same office at Warner Bros. Animation and developed interesting personalities that the other staff had picked up on; Ruegger said that Minton seemed to be always scheming to take over the world, while Fitzgerald comedically agreed with him, injecting nonsense words like "Narf" and "Egad" around the office. The gag credit for the Tiny Toon Adventures episode "You Asked For It" credits Eddie Fitzgerald as "Guy Who Says 'Narf'". Series producer Peter Hastings described Eddie by saying, "He always greeted you like you were wearing a funny hat – and he liked it." During the development of Animaniacs, animator Bruce Timm drew caricatures of Minton and Fitzgerald, and Ruegger then added mouse ears and noses to the drawing, cementing the concept for Pinky and the Brain. The Fitzgerald/Minton connection to Pinky and the Brain is shown in the episode "The Pinky and the Brain Reunion Special". Two characters shown as writers for Pinky and the Brain cartoons within the short are caricatures of Fitzgerald and Minton.
While Ruegger initially based the Brain after Minton, the Welles connection came from Maurice LaMarche, a big fan of the actor/director, who had supplied the voice for Orson Welles in the 1994 movie Ed Wood. LaMarche stated that on coming in to audition for the character of the Brain, he saw the resemblance to Welles and went with that for the voice, and he was given the role on the spot. LaMarche describes Brain's voice as "65% Orson Welles, 35% Vincent Price".
Brain's similarity to Orson Welles was made explicit in the Animaniacs episode "Yes, Always", which was based upon an outtake from one of Welles' television commercials, colloquially known as Frozen Peas, in which he ranted about the poor quality of the script. This cartoon was described by writer Peter Hastings as "a $250,000 inside joke": LaMarche used excerpts from it as sound check material before recording episodes, and Hastings took it to its logical conclusion. The writers developed the script in secret playing off these test lines and the Frozen Peas outtakes, and arranged to have recording on the same day as Sam Kinison's funeral, whom LaMarche was a close friend of. Prior to LaMarche's arrival, the other voice actors, including Paulsen, recognized the humor of the script after they started reading it. According to Paulsen, when LaMarche arrived, he had originally kept his professionalism after the funeral, but broke down in happiness as he recognized the script for what it was. The series also alluded to Welles with an episode in which Brain took on the mind-clouding powers of a radio character called "The Fog": a parody of The Shadow, a popular radio character for which Welles once provided the voice. Other Welles allusions included the episode "The Third Mouse", a parody of The Third Man in which the Brain played the part of Welles' character Harry Lime (with Pinky as Holly Martins), and "Battle for the Planet", in which Brain, inspired by Welles' infamous War of the Worlds radio broadcast and the hysteria that it provoked, stages an alien invasion on television. A caricature of Orson Welles appears in a late episode of the series ("What Ever Happened to Baby Brain"), echoing a rant of the Brain's and introducing himself afterwards.
Paulsen had already been selected to voice Pinky as he was already voicing Yakko Warner for Animaniacs. Paulsen, taking inspiration from British comedies such as Monty Python's Flying Circus, The Goon Show, and Peter Sellers, soon gave Pinky "a goofy whack job" of a British accent for the character.
The episode "Win Big" was the very first Pinky and the Brain skit. It was developed for Animaniacs, written by Ruegger with a script by Peter Hastings, and directed by Rusty Mills. According to Ruegger, most of the elements that would become part of Pinky and the Brain can be found in Hastings's original script. It held many dialogue bits that became conventions of the entire series, including Brain's "Pinky, are you pondering what I'm pondering?", Pinky's "Oh...wait, no." in response to a plan, and Pinky's final question, "Why, Brain? What are we going to do tomorrow night?"
Production
Producers
As with Animaniacs, Steven Spielberg was the executive producer during the entire run, Tom Ruegger was the senior producer, Jean MacCurdy was the executive in charge of production, and Andrea Romano was the voice director. Peter Hastings, Rusty Mills and Liz Holzman produced the series when it was spun off from Animaniacs, as well as the season it ran primetime on the WB. After the first season Hastings left the show and Mills took over as the supervising producer.
Writing
The original Pinky and the Brain shorts on Animaniacs were written primarily by Peter Hastings. Upon moving into its own series, the writing staff included Gordon Bressack, Charles M. Howell IV, Earl Kress, Wendell Morris, and Tom Sheppard. Comedian Alex Borstein was also a staff writer, years before her fame on MADTV and Family Guy. Classic Warner Bros. cartoon director Norm McCabe also wrote for the series.
Voice actors
Pinky and the Brain were voiced by Rob Paulsen and Maurice LaMarche, respectively. The series also used the work of many of the same voice actors for Animaniacs, including Tress MacNeille, Jess Harnell, Frank Welker, Nancy Cartwright, Janet Waldo and Jeff Bennett. Celebrities such as Roddy McDowall, Nora Dunn, Townsend Coleman, Ernest Borgnine, Eric Idle, Dick Clark, Ed McMahon, Steve Allen, Joyce Brothers, Gavin MacLeod, John Tesh, Michael McKean, Garry Marshall, Mark Hamill, James Belushi, and Steven Spielberg have all performed guest voice work for the series as well.
Cree Summer has also voiced characters in Pinky and the Brain and reprised her role as Elmyra Duff during Pinky, Elmyra & the Brain.
Music
As with Animaniacs, Pinky and the Brain was scored by a team of composers, led by Emmy-Award-winning composer Richard Stone. This team included Steven Bernstein and Julie Bernstein, who also orchestrated and sometimes conducted the 40-piece orchestra. The recordings were done on Stage A on the Warner Bros lot, the same stage (and with the same piano) where Carl Stalling recorded his Looney Tunes music. The theme song for Pinky and the Brain was composed by Richard Stone with lyrics by Tom Ruegger.
Two versions of the opening sequence and theme, with slightly different lyrics, were used during the Animaniacs skits. In the first version, Yakko, Wakko, and Dot (voiced respectively by Paulsen, Harnell, and MacNeille) popped up in the lab and sang the theme while letting the two mice out of their cage. The second, later version had the singers off-camera as the Brain picked the lock on the cage door with a small needle to free himself and Pinky. On the Pinky and the Brain series, the theme gained an additional two verses and was sung by Harnell, Dorian Harewood, Jim Cummings, and Paulsen.
The score sometimes includes references to classical music. For example, in the episode where the Brain builds a new papier-mâché Earth, the theme from the 2nd and 4th movements of Dvořák's New World Symphony can be heard throughout the episode. The episode Napoleon Brainaparte makes frequent reference to the French anthem, La Marseillaise, while in the episode in which Pinky becomes the artist "Pinkasso", Mussorgsky's Pictures at an Exhibition can be heard.
Animation
Like Animaniacs, most of the original Pinky and the Brain skits used a variety of animation studios, including Tokyo Movie Shinsha, StarToons, Wang Film Productions, and AKOM. The bulk of the episodes created outside of Animaniacs (seasons 2 and beyond) were produced by Rough Draft Studios, Wang Film Productions and AKOM. The only episode that was animated by Tokyo Movie Shinsha on the spin-off series was A Pinky and the Brain Christmas.
Humor
Like Animaniacs, much of the humor in Pinky and the Brain was aimed at adult audiences. Parodies of pop culture icons were quite common on the series, more so during the original episodes developed for the WB prime time slot. In addition to previously mentioned political and actor caricatures, some episodes included complete parodies like those in Animaniacs. The episode "The Megalomaniacal Adventures of Brainie the Poo" parodies The Many Adventures of Winnie the Pooh (or simply Winnie the Pooh). "Cameos" include Jagger instead of Tigger and Algore instead of Eeyore. Algore is "full of hot air", and shown floating like a balloon. Other parodic elements include Christopher Walken in place of Christopher Robin and the "Brainie the Poo" book appears to have been authored by "A. A. Meeting." The three-part episode "Brainwashed" included several allusions to the television show The Prisoner, though everyone in this version of the Village was identified by the hat that they wore, and not by a number.
Three songs resemble the musical skits in Animaniacs, matching existing music with new lyrics. Pinky sings "Cheese Roll Call" to John Philip Sousa's march "Semper Fidelis" praising his love for all cheeses from around the world. To the music of "Camptown Races", Brain lists the major parts of the human brain, with Pinky jumping in at the chorus to shout "Brainstem! Brainstem!". "A Meticulous Analysis of History" is set to "When I Was a Lad" from Gilbert and Sullivan's H.M.S. Pinafore, and sung by both Brain and Pinky, with Brain reciting the rise to power of such historical leaders as Napoleon and Cleopatra, while Pinky mentions how they all fell. In addition, "Brainwashed" featured a song called the Schmëerskåhøvên, a parody of the Macarena, which would brainwash people if it was done correctly. The song includes such odd lyrics as "Put your fingers in your ears, then stick them in your belly" and "Bop yourself on the head and cross your eyes."
Like Animaniacs, there was a gag credit in the closing credits: each show featured an English word appropriate for the episode with its definition. For example, "Around the World in 80 Narfs", where the mice are foiled by trying to speak "New York cabbie" and end up going in circles in one location, the gag credit word was "anophelosis" defined as "morbid state due to extreme frustration".
Another common element in nearly every episode is the following exchange (often referred to by the acronym "AYPWIP"):
Brain: Pinky, are you pondering what I'm pondering?Pinky: I think so, Brain, but...
Pinky's response ends with a non sequitur such as, "we're already naked", "isn't a cucumber that small called a gherkin?" or "if they called them Sad Meals, kids wouldn't buy them." Brain would then become furious, often bashing Pinky on the head. A few times in the series Pinky and Brain indeed pondered the same thing, though in one of these Pinky dismissed his idea as being too stupid. Just one time the answer was "Yes I am!", when Pinky's intelligence is elevated to match Brain's. In another episode, it turns out that what Pinky was pondering was that he and Brain never ponder the same thing, which turned out to be part of what Brain was pondering as well. In a short episode ("Pinky's P.O.V.") the spectator sees everything Pinky sees (including his imaginations) and hears his thoughts. His brain seems to censor a large portion of Brain's dialogue, leaving Pinky to wander into random internal tangents until Brain asks the question. Pinky then responds with whatever was on his mind at the end of the tangent.
Response
Popularity
Pinky and the Brain were popular on Animaniacs, and the popularity continued into their own series. It attracted many of the same fans as Animaniacs and Internet outreach attracted more. Maurice LaMarche and Rob Paulsen appeared on voice actor tours around the Warner Bros. Studio Stores.
In an interview on the third DVD volume, LaMarche and Paulsen noted that Roy Langbord (vice-president of Showtime), Al Franken, and Barenaked Ladies are fans of the shows. Naughty Dog co-founder Jason Rubin was also fond of the series; the character of the Brain served as an influence in the creation of Doctor Neo Cortex, the main antagonist of the Crash Bandicoot video game series.
Nominations and awards
Pinky and the Brain won several Emmy and Annie Awards. In 1996, the series won an Emmy Award for Outstanding Animated Program for the episode A Pinky and the Brain Christmas. Paulsen won the Annie Award for Outstanding Individual Achievement for "Voice Acting by a Male Performer in an Animated Television Program Production" in 1996 and 1997, while LaMarche won the same in 1998. Paulsen also won an Emmy Award for Outstanding Performer in an Animated Program for his role as Pinky subsequently in 1999. The series itself won the 1999 Daytime Emmy for "Outstanding Special Class Animated Program".
The episode "Inherit the Wheeze", in which Brain was subject to the effects of smoking by a tobacco company, won a PRISM Award for its anti-smoking message.
References in other media
The Rice University Neologism dictionary includes not only "narf" as a random sound or nonce word, but also "narfed" as a verb to mean "to be struck completely" with some embarrassment or folly, much as Pinky would be hit on the head by Brain after his follies ruined Brain's plan. The International Dictionary of Neologisms includes the word "narfistic" as "an idea or concept that works fine when you think about it – but is very difficult to express to someone else", as a result of Pinky only saying "Narf!" after Brain elaborates on one of his extensive plans.
In one of the host segments in the Hobgoblins episode of Mystery Science Theater 3000, Pearl Forrester summons her sidekicks Professor Bobo and Observer over by calling, "Pinky! Brain!"
In the post-apocalyptic role-playing game Fallout 2 by Interplay, a couple of mutant albino mole rats appear. One creature is utterly insane, muttering intentions of taking rulership. The other is a highly intelligent cult leader who has intricate plans to claim domination of the post-apocalyptic world; he also has a taste for Cheezy Poofs.
Pinky and the Brain were alluded to in The Incredible Hulk #438 as two white mice kept by Omnibus. One of the realistically drawn mice had an enlarged cranium, and when their cage was destroyed the sound "narf" is indicated. Also, when Jailbait asked what they would do during the night, Hotshot replied "The same thing they do every night...whatever that is."
The track "Great Day" on the album Madvillainy by the eponymous duo of MF Doom and Madlib features a reference to one of Brain's famous catchphrases: "DOOM, are you pondering what I'm pondering?/Yes, but why would the darn thing be wandering?"
The Virgin New Adventures Doctor Who novel, Death and Diplomacy by Dave Stone includes two characters repeating the "Are you pondering..." lines, and near the end, two of the fallen villains in the story recover, one telling his comrade that they must prepare for tomorrow night when they will take over the universe.
This is Not a Game, a novel by Walter Jon Williams begins "Plush dolls of Pinky and the Brain overhung Charlie's Monitor..." and the theme of world domination is central to the plot.
In the game Destroy All Humans!, during the final boss battle against Silhouette when you read her mind one of the things she says is "What do I do? The same thing I do every night. Try and take over the world!"
In the Robot Chicken episode "Kramer vs. Showgirls", a sketch has Michael Moore interviewing cartoon characters from the 1990s, including Pinky and the Brain. Pinky had an ear growing on his back and Brain was moved to another cage, as it turned out his large head was a result of Paget's disease, and he had been rendered blind and had arthritis as a result of the disease. Alan Tudyk voiced Pinky and Seth Green voiced Brain.
Another episode has LaMarche reprising his role of Brain in "Eviscerated Post-Coital by a Six Foot Mantis" in a sketch where Pinky and the Brain get sent on a psychedelic trip after being injected with phencyclidine.
In the MAD episode "Spy vs. Spy Kids/The Superhero Millionaire Matchmaker", Mickey Mouse captures Pinky and the Brain in a cage.
The opening conversation between Pinky and Brain ("Gee, Brain...") that is shown in every episode is sampled in "Joey Bada$$"'s World Domination.
In The New Batman Adventures episode "Torch Song", Batman asks Batgirl "So, what are you doing tonight?" to which Batgirl answers "Same thing we do every night, Pinky!". Batman replies "What?", followed by "Never mind." from Batgirl.
In the first novel of The Laundry Files, The Atrocity Archive, the hero Bob Howard's roommates are nicknamed Pinky and the Brain.
In 2011, a chorus line in the song "Take Over the World" by YouTuber Ray William Johnson (under the channel name Your Favorite Martian) sampled the Pinky and the Brain catchphrase.
In 2014, at the end of Nostalgia Critic's review of The Purge, Rob Paulsen and Maurice LaMarche reprised their roles as Pinky and the Brain respectively, in animated form, at the very end of the episode. The segment involves Brain finally losing his temper with Pinky and spewing profanity-laced insults at him, causing Pinky to burst into tears. The segment then cuts to live-action footage of LaMarche and Paulsen recording their lines, with The Critic behind them. LaMarche asks if this is for a kid's show, to which The Critic says, "Just say it, people have been wanting to hear this for years."
In the web series Camp Camp (created by Rooster Teeth) episode "Journey to Spooky Island", the characters come across a laboratory with horrific experiments gone wrong. One of the cases labeled "Take a Cartoon Literally #303" has a mouse with a grotesquely huge brain and another with its head removed and replaced with a finger. The brainy one writes 'Kill Me' on the glass.
In the 2018 comedy-drama film Tully, Marlo (Charlize Theron) asks the eponymous night nanny (Mackenzie Davis) what she usually does in the daytime, to which Tully replies, "Same thing I do every day, try to take over the world!"
On February 15, 2019, the group Postmodern Jukebox released a video for their rendition of the theme song (done in jazz style); this video featured Rob Paulsen and Maurice LaMarche working at the bar in the background, performing a short monologue as their respective characters in the middle of the video.
In 2019, during one of the final episodes of the animated series My Little Pony: Friendship Is Magic, entitled "The Ending of the End: Part 2", Pinkie Pie asks "What are we gonna do, Twilight?", which Twilight Sparkle replies "The same thing we do every time, Pinkie. Try to save the world!"
In 2021, an image of Brain appears in The Simpsons Season 33 episode "The Wayz We Were".
History
On Animaniacs and Pinky and the Brain
Pinky and the Brain first appeared as a recurring skit on the animated series Animaniacs, another series produced by Steven Spielberg. On September 3, 1993, Pinky and the Brain premiered on television in the episode "Win Big", which aired on the FOX network.
On September 9, 1995, Pinky and the Brain were spun off onto their own half-hour series on Kids' WB!, with each episode consisting of one or more segments, including some of the segments from Animaniacs. The first season was scheduled in a prime time slot from September 10, 1995 through July 21, 1996, as part of the new WB network lineup, with episodes also being repeated within the Saturday morning cartoon block. It had been envisioned for the series to be the WB network's answer to The Simpsons, at that point in its 7th season, which was running on the FOX network. The series tended to have more jokes and humor aimed at adults rather than children. Due to poor ratings following the first season, primarily due to running against 60 Minutes, subsequent seasons were moved to Saturday mornings as part of the Kids' WB! programming block.
Even though they had their own series, they still had several shorts in Animaniacs after they got the series, still appeared in the series' intro and often made cameo appearances.
On Pinky, Elmyra & the Brain
In 1998, the overall structure within the WB Network changed, including the placement of Jamie Kellner as head of the Kids WB! programming. Along with this came pressure on the writers of the series to back off on the idea of world domination and to include more characters on the series. The episode "Pinky and the Brain...and Larry" was a response to this pressure, attempting to show the studio heads that the series was fine as it was, that Pinky and the Brain worked together as a comedy duo - each balancing each other out with their flaws and personalities - and that a third character (or any extra characters at all) would be out of place and thus unnecessary to the plot. At this point, Peter Hastings, a key writer for the series, decided to quit, with his last script being "You'll Never Eat Food Pellets In This Town Again!", directly addressing the issue of network executives trying to retool shows that otherwise already work. Following the production of the episode, the network backed off from forcing new characters into the show.
With increased pressure from the WB network, the series eventually was retooled on September 19, 1998, into Pinky, Elmyra & the Brain, in which Pinky and the Brain were owned by Tiny Toon Adventures character Elmyra Duff; the unusual change in format was even sarcastically noted in the altered title song, with lyrics such as "It's what the network wants, why bother to complain?". The decision was not well received by the existing crew. For one, according to Paulsen, Spielberg had stated that the Tiny Toons and the Animaniacs/Pinky and the Brain universes were to be kept separate. Furthermore, the chemistry between the characters were altered; by introducing Elmyra (who tended to be even more dense than Pinky was), it shifted Pinky to become the useless "Larry" of this series, as described by Paulsen. This series lasted for 13 episodes, six of which were shown unedited and seven of which were split up into segments and aired as a part of The Cat&Birdy Warneroonie PinkyBrainy Big Cartoonie Show.
On the Animaniacs revival
Pinky and the Brain, with voice work by Paulsen and LaMarche, were featured as primary recurring characters along with the Warner siblings as part of the 2020 revival of Animaniacs produced by Amblin and Warner Bros. for broadcast on Hulu. Two seasons of 13 episodes each were ordered, with the first season first broadcast on November 20, 2020 and the second first broadcast on November 5, 2021.
Merchandise
Pinky and the Brain, along with Animaniacs, aired coincident with the formation of the Warner Bros. Studio Store chain across the United States, and, as a result, numerous T-shirts, coffee mugs, stuffed animals, animation cels, and original artwork from the show were available through these outlets. Other merchandise included comic books, computer games, and videotapes. When Warner Brothers acquired the Hanna-Barbera animation properties in 1998, there was a significant decrease with such merchandise through the store. By the time the series was cancelled, very little merchandise was available.
VHS releases
Four VHS collections of Pinky and the Brain episodes were released in 1996 and 1997, each with approximately two to four episodes that included shorts from Animaniacs. These collections are now out of print.
DVD releases
[[File:Pinky and the Brain vol1.jpg|thumb|right|upright| DVD cover for Pinky and the Brain Volume 1]]
Warner Home Video has released all 66 episodes on DVD in Region 1 in a three-volume set.
Comic books
Pinky and the Brain were also regulars in the Animaniacs comic book series published by DC Comics. From July 1996 to November 1998, they also starred in their own comic book series (also published by DC Comics), which ran first for one Christmas Special issue and then 27 regular issues before its cancellation. Following the cancellation of the Pinky and the Brain series, the two mice later starred in stories that took up half of the later issues of the Animaniacs comic book series which, starting at issue #43, was re-titled Animaniacs! featuring Pinky and the Brain and ran for another 16 issues before its cancellation.
Video games
There are two video games based on Pinky and the Brain. The first, a PC game called Pinky and the Brain: World Conquest, was produced by SouthPeak Games and distributed by Warner Bros. The second was Pinky and the Brain: The Master Plan for the Game Boy Advance. The game was produced by Warthog and distributed by SWING! Entertainment in 2002. A third game, titled simply Pinky and the Brain, was announced for the Sega Saturn in 1996 and was planned to be published by Konami, but was later cancelled. The characters have also appeared in several of the Animaniacs video games, such as Animaniacs: The Great Edgar Hunt.
Music
While Pinky and the Brain does not feature as many songs as Animaniacs, some of the music from the show can be found across the three Animaniacs CDs. An expanded version of the Animaniacs'' skit "Bubba Bo Bob Brain" presented in a radio drama or audiobook fashion was released as a read-along book and CD in 1997 by Rhino Entertainment.
See also
Jamie Kellner
References
External links
Animaniacs
1995 American television series debuts
1998 American television series endings
1990s American animated television series
Animaniacs characters
Television duos
Animated duos
DC Comics titles
Fictional genetically engineered characters
Animated television series about mice and rats
Fictional scientists
Television supervillains
Television series created by Tom Ruegger
Kids' WB original shows
Television series by Warner Bros. Animation
Television series by Amblin Entertainment
Television series by Warner Bros. Television Studios
American animated television spin-offs
Annie Award winners
The WB original programming
Cultural depictions of Orson Welles
Male characters in animated series
Animated television characters introduced in 1993
English-language television shows
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[
"A recurring character is a fictional character, usually in a prime time TV series, who frequently appears from time to time during the series' run. Recurring characters often play major roles in more than one episode, sometimes being the main focus. They may be contrasted with \"regular\" characters, who typically appear in every or almost every episode of a series. Recurring characters appear less frequently than regulars, but more frequently than guest star characters, who may appear in only one or two episodes without being expected to return. \n\nRecurring characters sometimes start out as guest stars in one episode, who then reappear in future episodes because creators or audiences found the actors or storylines compelling enough to revisit. Sometimes a recurring character eventually becomes part of the main cast of characters; such a character is sometimes called a breakout character. Some notable examples of main characters who were originally recurring characters are: Eli Gold on The Good Wife; Leo Chingkwake on That '70s Show; Angel and Oz on Buffy the Vampire Slayer; Marc St. James on Ugly Betty; Vanessa Abrams on Gossip Girl; Zack Allan on Babylon 5; Steve Urkel on Family Matters; Donna Moss on The West Wing; and Felicity Smoak on Arrow.\n\nIn other cases, recurring characters have been given spin-off series of their own, such as Dr. Frasier Crane who originally was a recurring character on Cheers. Kelsey Grammer, along with fellow recurring actor John Ratzenberger were hired for seven episodes, to play Frasier Crane and Cliff Clavin respectively. Cliff was scheduled to recur during the 1982-1983 season, Frasier to recur during 1984-1985 season. Both actors were subsequently upgraded to the main cast, and Crane continued in his own series following the end of Cheers. \n\nOn sketch comedy programs, recurring characters are generally a staple. For example, in the sketch comedy series Your Show of Shows, Sid Caesar used the concept frequently:\n\nUsually they appear in their own sketch and the sketch itself can become a regular part of the show. Some notable examples include the Church Lady and Hans and Franz from Saturday Night Live, the Gumbys from Monty Python's Flying Circus, and Bob and Doug McKenzie from SCTV. However, the characters are not always limited to their own sketches. Sometimes, characters from a recurring sketch go on to appear in other sketches, or develop into their own TV shows. For example, when The Carol Burnett Show was canceled the central character of a popular recurring sketch called The Family, Thelma \"Mama\" Harper, went on to have her own show Mama's Family. Also, recurring characters in sketch comedy shows can go on to have their own movies. This is especially true with Saturday Night Live which has had many recurring characters turn into movies such as Stuart Smalley, Wayne and Garth of Wayne's World, The Blues Brothers, and The Ladies Man. Recurring characters may even revisit shows long after the actor who played them has left the cast, for example, the character Mary Katherine Gallagher was portrayed by Molly Shannon when she hosted Saturday Night Live in 2007, six years after she left the cast. Sometimes a recurring character from one show appears on another show, such as when Dave Thomas and Rick Moranis hosted Saturday Night Live in 1983 and portrayed Bob and Doug MacKenzie, or when Emily Litella (portrayed by Gilda Radner) from Saturday Night Live appeared on The Muppet Show in 1978. Sacha Baron Cohen's character Ali G is another example, originating on the Channel Four series The Eleven O'Clock Show. The character was such a huge success that Cohen got his own show as the original show was cancelled.\n\nRecurring characters are not limited to television. In the early 20th century, the Saturday Evening Post frequently had recurring characters in their cover art, such as Baby New Year. The Shmoo was a recurring character in the comic strip Li'l Abner, which eventually went on to appear in the TV cartoon series Fred and Barney Meet the Shmoo and The New Shmoo. The Sherlock Holmes series of novels by Arthur Conan Doyle featured well-known recurring characters such as Inspector Lestrade and Mrs. Hudson.\n\nIn US daytime soap operas, recurring characters are ones played by actors who do not have a contract. They are not obligated to play the role and have no guarantee of work. Actors on recurring status used to be referred to as day players.\n\nSee also\n Supporting character\n\nReferences\n\nTelevision terminology\nFictional characters by role in the narrative structure",
"Neighbours is a long-running Australian television soap opera that was first broadcast on the Seven Network on 18 March 1985. The following is an alphabetical list of recurring characters and cast members that have appeared in the soap. Recurring characters who later became regular characters are not included, neither are characters that were regular and returned as recurring.\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\n\nJ\n\nK\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\nSee also\nList of Neighbours characters for current and upcoming characters\nList of former Neighbours characters for former regular characters\n\nExternal links\n Cast and characters at the Internet Movie Database\n\nLists of Neighbours characters"
] |
[
"Pinky and the Brain",
"Other recurring characters",
"who were some recurring characters?",
"Merlin, H.G. Wells, and Ivan Pavlov.",
"anyone else?",
"Snowball the hamster",
"who was on there most often?",
"I don't know.",
"were there other recurring characters?",
"Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love."
] |
C_77efb9c050a640fba93b63e0452d0220_1
|
are there any other relationships?
| 5 |
Besides Pinky and Pharfignewton ,are there any other relationships on Pinky and the Brain?
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Pinky and the Brain
|
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and the Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, and Ivan Pavlov. There is very little continuity between episodes outside of the common fixtures of the mice, though some plans for world domination from early episodes are subsequently referred to in later seasons (for example, Brain's "human suit" used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball"). The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people vote that he should take over the world on the one day he does not want to. Both Pinky and the Brain, white mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration; per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme "Gene Splicer, Bagel Warmer, and Hot Dog Steamer." Although Pinky and the Brain plan to conquer the world, they do not show much animosity. In a Christmas special Pinky even wrote to Santa that Brain had the world's best interests at heart. Pinky (voiced by Rob Paulsen) is another genetically modified mouse who shares the same cage as Brain at Acme Labs. Although intelligent in his own right, Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "narf", "zort", "poit", and "troz" (the last of which he started saying after noticing it was "zort in the mirror"). Pinky's appearance is the complete opposite of Brain's--while Brain is short, has a crooked tail and pink eyes, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue eyes, and a severe overbite, is taller than the Brain, and speaks in a higher pitched voice with a Cockney accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my... pinky!" Pinky then responded with "Yes?", believing Brain was referring to him. Pinky is more open-minded, kinder, and happier than the Brain. Troubles never ruin his day, arguably because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles, and abuses him. Pinky actually seems to enjoy this, laughing after he is hit. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought process and how he comes to the strange, seemingly nonsensical responses to the Brain's famous question, "Are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the given night's plot. He is also arguably Brain's moral compass and only real friend. When Pinky sold his soul to get Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence despite his supposed childish stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became President, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for." Snowball the hamster (voiced by Roddy McDowall) is Brain's former friend who was also made intelligent by gene splicing and has a similar desire for world conquest (though far more malevolent than Brain's) which Pinky and the Brain are sometimes forced to stop. Billie (voiced by Tress MacNeille) is a female mouse and another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky. In the episode "You'll Never Eat Food Pellets In This Town Again", it is revealed that Brain is married to Billie (who in real life is Sheila, and hates playing Billie), who pretty much only agreed because he's famous, and eventually kicks him out and makes Brain live in his restaurant. It is later revealed that the events were just a dream. Pharfignewton (voiced by Frank Welker) is a racing mare, with whom Pinky falls in love. Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids WB executives to include additional characters on the show. His presence is sporadic as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and The Brain, as they worked best as a comedy duo, and a third character would therefore be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the name "Larry!" shoehorned in between existing lyrics. Other characters that have appeared on the show have included both of Brain's and Pinky's parents and the pair's "child", "Roman Numeral I" (Romy for short) who was a result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton. Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, and Christopher Walken, as was common on other Animaniacs cartoons. CANNOTANSWER
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Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids WB executives
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Pinky and the Brain is an American animated television series that was created by Tom Ruegger that premiered on Kids' WB on September 9, 1995. It was the first animated television series to be presented in Dolby Surround and the fourth collaboration of Steven Spielberg with his production company, Amblin Entertainment, and Warner Bros. Animation. The characters first appeared in 1993 as a recurring skit on Animaniacs. It was later spun off as a series due to its popularity, with 66 episodes produced. The characters later appeared in the series Pinky, Elmyra & the Brain, and have since returned to their roots as an Animaniacs skit in the 2020 revival of that series.
Pinky and the Brain are genetically enhanced laboratory mice who reside in a cage in the Acme Labs research facility. Brain is highly intelligent, self-centered and scheming, while Pinky is good-natured but feeble-minded. In each episode, Brain devises a new plan to take over the world which ultimately ends in failure, usually due to the impossibility of Brain's plan, Brain's own arrogance or overconfidence, Pinky's bumbling, something Brain didn’t consider, circumstances beyond their control, or multiples thereof. In common with many other Animaniacs shorts, many episodes are in some way a parody of something else, usually a film or novel.
Premise
Many of the Pinky and the Brain episodes occur in the 1990s at Acme Labs, located in some large American city underneath a suspension bridge. Several episodes take place in historical times, with Pinky and Brain in the laboratory of some scientifically-minded person, including Merlin, H.G. Wells, Ivan Pavlov, and Johannes Gutenberg. There is very little continuity between episodes outside of the common fixtures of the two mice, though some plans for world domination from early episodes are subsequently referred to in later seasons; for example, Brain's mechanical human suit that was first used in "Win Big" reappears when Brain faces his rival Snowball in "Snowball".
The bulk of every episode involves one of Brain's plans for world domination with Pinky's assistance and the ultimate failure of that plan, with some exceptions. One centers on Snowball's plan to take over the world using Microsponge (a parody of Microsoft). Another episode features Brain's single day where he tries to do anything but take over the world: in the end, a group of people votes that he should take over the world on the one day that he does not want to.
Both Pinky and Brain, white lab mice kept as part of Acme Labs' experimentation, have undergone significant genetic alteration, per the show's title lyrics, "their genes have been spliced" which gives the two mice amplified intelligence over that of a typical mouse, the ability to talk to humans, and anthropomorphism. "Project B.R.A.I.N." suggests that the gene splicing occurred on September 9, 1995, which is coincident to the first full episode of Pinky and the Brain. The episode "Brainwashed" states that the gene splicing was done by Dr. Mordough, along with Snowball the hamster and Precious the cat, using the Acme Gene Splicer, Bagel Warmer, and Hot Dog Steamer.
Although Pinky and Brain plan to conquer the world, they do not show much animosity. In a Christmas special, Pinky even wrote a letter to Santa Claus saying that Brain had the world's best interests at heart.
Episodes
Characters
Pinky
Pinky (voiced by Rob Paulsen, who also voices Yakko from Animaniacs) is a genetically modified mouse who shares the same cage as Brain at Acme Labs. Pinky is an extremely unstable and hyperactive mouse. He has several verbal tics, such as "Narf", "Zort", "Poit", and "Troz", the last of which he started saying after noticing it was "Zort" reflected backwards in a mirror. Pinky's appearance contrasts with Brain's — while Brain is short, has a crooked tail and pink sclerae, and speaks in a deeper, more eloquent manner, Pinky has a straight tail, blue sclerae, and a severe overbite, is taller than the Brain and speaks in a high-pitched voice with a Cockney British accent. Pinky's name was inadvertently given to him by Brain himself: when insulting the two scientists responsible for their gene splicing while talking to himself, Brain claimed the scientists had "less knowledge in both their heads than I do in my...pinky!" Pinky then responded with "Yes?", believing that Brain was referring to him.
Pinky is more open-minded, kinder, and generally happier than the Brain. Troubles never ruin his day, possibly because he is too scatter-brained to notice them. He steadfastly helps Brain toward world domination, even though Brain usually berates, belittles and even abuses him. Pinky actually seems to enjoy this, often laughing after he is hit on the head. He is obsessed with trivia, spending a lot of time watching television in the lab and following popular culture fads. Sometimes, Pinky even finds non-rational solutions to problems. An entire episode (entitled "The Pinky P.O.V.") even shows a typical night of attempted world domination from his point of view, showing his thought processes and how he comes to the strange, seemingly nonsensical responses to Brain's famous question, "Pinky, are you pondering what I'm pondering?" Pinky often points out flaws in the Brain's plans, which the Brain consistently ignores. The issues Pinky brings up can ironically lead to the downfall of the plan in the given night's plot.
He is also Brain's moral compass and his only true friend. When Pinky sold his soul to the devil to give Brain the world in "A Pinky and the Brain Halloween", Brain saved him because he missed him and the world was not worth ruling without him. Pinky also has shown signs of intelligence, despite his supposed stupidity. In "Welcome to the Jungle", Pinky was able to survive using his instincts and become a leader to Brain, who, despite his intelligence, could not survive in the wild on his own. And in "The Pink Candidate", when Pinky became president, he later began citing various constitutional amendments and legal problems that would bar Brain from his latest plot to take over the world. When Brain attempted to pressure him into helping, Pinky refused, claiming that the plan "goes against everything I've come to stand for."
The Brain
The Brain or "Brain" for short (voiced by Maurice LaMarche) looks and sounds like Orson Welles. In "What Ever Happened to Baby Brain", Brain actually crosses paths with Welles, who is working as a busboy in a Hollywood restaurant, and they find themselves inadvertently yelling in unison, "Things will be different when I take over the world!" In "Project B.R.A.I.N.", Brain's name is the backronym for the eponymous project: "Biological Recombinant Algorithmic Intelligence Nexus". His tail is angular and bent — he often uses it to pick the lock of the cage door — and his head is large and wide, housing his abnormally large brain. He is highly intelligent and develops complex plans for global domination using politics, cultural references, and his own inventions toward his goal. He seems coldly unemotional, speaking in a snarky deadpan voice. Nevertheless, Brain has a subtle sense of humor and has even fallen in love, with Trudie in the episode "The Third Mouse" and with Billie in "The World Can Wait". Due to his stature and megalomania, Brain has been compared to Don Quixote and has been called a pop culture depiction of Napoleon Bonaparte.
Brain sees his inevitable rise to power as good for the world and not as mere megalomania. In Animaniacs: Wakko's Wish, he said to Pinky "We're on our way to fame, fortune and a world that's a better place for all." Many of the Brain's plots had the endgame of winning over the people's hearts and then having them make him their ruler. However, his motives are not pure. In one episode, Brain finds himself hypnotized by a psychologist whom he had planned to manipulate for one of his schemes, who turns out to be none other than Sigmund Freud. There Brain reveals that he originally lived with his parents in a tin can at the base of a tree in a large field. When he was young, ACME researchers captured Brain and took him from his home, and the last he saw of it was a picture of the world on the side of the can. Dr. Freud speculates that Brain's hunger to take over the world is misplaced, and that all he really wants is to go back home to his parents. According to the creators, Brain wants to take over the world not for the sake of being a dictator, like his rival Snowball, but because he believes that he could do a much better job of it than the people currently in charge. Brain has even helped save the world by doing everything in his power to prevent Snowball's evil schemes, knowing that a world under Snowball's rule would be a worst-case scenario. In the 2020 Animaniacs reboot, Brain gains a new rival in taking over the world in the form of his wife, Senator Julia Brain, after his attempts to mind-control her into becoming a puppet ruler for him led to her becoming insane.
Other recurring characters
Snowball the hamster (voiced by Roddy McDowall) is Brain's former childhood friend-turned-rival who was also made intelligent by gene splicing and has a similar desire for world conquest (though his desire is far more malevolent than Brain's) which Pinky and Brain are sometimes forced to stop.
Billie (voiced by Tress MacNeille) is a female white mouse and yet another result of gene splicing. She is smarter than Brain and also has the goal of world domination. Though Brain loves her, she fancies Pinky instead. In the episode "You'll Never Eat Food Pellets In This Town Again!", it is revealed that Brain is married to Billie (who in real life is named Sheila and hates playing Billie), who pretty much agreed to marry him only because he is famous, and eventually kicks him out and makes him live in his restaurant. It is later revealed that the events were just a dream.
Pharfignewton (voiced by Frank Welker) is a white racing mare, with whom Pinky falls in love. Though Brain constantly tells Pinky that he is a mouse and Pharfignewton is a horse, Pinky always chooses not to listen to him.
Larry (voiced by Billy West) is a white mouse who was created as a response to demands from Kids' WB executives to include additional characters on the show. His presence is sporadic, as the writers of the show believed that including an additional character would ruin the chemistry between Pinky and Brain, as they worked best as a comedy duo; thus a third character would, therefore, be out of place and unnecessary to the plot. To further drive this point home, Larry's first appearance was marked by a modified version of the theme song with the words "and Larry!" shoehorned in between existing lyrics. He is a caricature of Larry Fine of The Three Stooges fame; therefore, the episode's title is "Pinky and the Brain...and Larry".
Other characters that have appeared on the series have included both of Brain's and Pinky's parents and the duo's "son", "Roman Numeral I" (Romy for short) another white mouse who was the result of a cloning mistake. Episodes also include recurring caricatures of celebrities, including both Bill and Hillary Clinton, David Letterman, Dick Clark, Drew Carey, Ryan Stiles, Kathy Kinney, J. D. Wilkes, Paul Gilmartin, Annabelle Gurwitch, Don Rickles, Michael Keaton, Eric and Donny from Too Something, "Macho Man" Randy Savage, The Allman Brothers Band, David Cross, Jack Black, Chris Shiflett, Jim Nabors as Gomer Pyle, and Christopher Walken, as was common on other Animaniacs cartoons.
Creation and inspiration
Pinky and the Brain was inspired by the peculiar personalities of two producers of Tom Ruegger's earlier show Tiny Toon Adventures, Eddie Fitzgerald and Tom Minton, respectively. The two worked in the same office at Warner Bros. Animation and developed interesting personalities that the other staff had picked up on; Ruegger said that Minton seemed to be always scheming to take over the world, while Fitzgerald comedically agreed with him, injecting nonsense words like "Narf" and "Egad" around the office. The gag credit for the Tiny Toon Adventures episode "You Asked For It" credits Eddie Fitzgerald as "Guy Who Says 'Narf'". Series producer Peter Hastings described Eddie by saying, "He always greeted you like you were wearing a funny hat – and he liked it." During the development of Animaniacs, animator Bruce Timm drew caricatures of Minton and Fitzgerald, and Ruegger then added mouse ears and noses to the drawing, cementing the concept for Pinky and the Brain. The Fitzgerald/Minton connection to Pinky and the Brain is shown in the episode "The Pinky and the Brain Reunion Special". Two characters shown as writers for Pinky and the Brain cartoons within the short are caricatures of Fitzgerald and Minton.
While Ruegger initially based the Brain after Minton, the Welles connection came from Maurice LaMarche, a big fan of the actor/director, who had supplied the voice for Orson Welles in the 1994 movie Ed Wood. LaMarche stated that on coming in to audition for the character of the Brain, he saw the resemblance to Welles and went with that for the voice, and he was given the role on the spot. LaMarche describes Brain's voice as "65% Orson Welles, 35% Vincent Price".
Brain's similarity to Orson Welles was made explicit in the Animaniacs episode "Yes, Always", which was based upon an outtake from one of Welles' television commercials, colloquially known as Frozen Peas, in which he ranted about the poor quality of the script. This cartoon was described by writer Peter Hastings as "a $250,000 inside joke": LaMarche used excerpts from it as sound check material before recording episodes, and Hastings took it to its logical conclusion. The writers developed the script in secret playing off these test lines and the Frozen Peas outtakes, and arranged to have recording on the same day as Sam Kinison's funeral, whom LaMarche was a close friend of. Prior to LaMarche's arrival, the other voice actors, including Paulsen, recognized the humor of the script after they started reading it. According to Paulsen, when LaMarche arrived, he had originally kept his professionalism after the funeral, but broke down in happiness as he recognized the script for what it was. The series also alluded to Welles with an episode in which Brain took on the mind-clouding powers of a radio character called "The Fog": a parody of The Shadow, a popular radio character for which Welles once provided the voice. Other Welles allusions included the episode "The Third Mouse", a parody of The Third Man in which the Brain played the part of Welles' character Harry Lime (with Pinky as Holly Martins), and "Battle for the Planet", in which Brain, inspired by Welles' infamous War of the Worlds radio broadcast and the hysteria that it provoked, stages an alien invasion on television. A caricature of Orson Welles appears in a late episode of the series ("What Ever Happened to Baby Brain"), echoing a rant of the Brain's and introducing himself afterwards.
Paulsen had already been selected to voice Pinky as he was already voicing Yakko Warner for Animaniacs. Paulsen, taking inspiration from British comedies such as Monty Python's Flying Circus, The Goon Show, and Peter Sellers, soon gave Pinky "a goofy whack job" of a British accent for the character.
The episode "Win Big" was the very first Pinky and the Brain skit. It was developed for Animaniacs, written by Ruegger with a script by Peter Hastings, and directed by Rusty Mills. According to Ruegger, most of the elements that would become part of Pinky and the Brain can be found in Hastings's original script. It held many dialogue bits that became conventions of the entire series, including Brain's "Pinky, are you pondering what I'm pondering?", Pinky's "Oh...wait, no." in response to a plan, and Pinky's final question, "Why, Brain? What are we going to do tomorrow night?"
Production
Producers
As with Animaniacs, Steven Spielberg was the executive producer during the entire run, Tom Ruegger was the senior producer, Jean MacCurdy was the executive in charge of production, and Andrea Romano was the voice director. Peter Hastings, Rusty Mills and Liz Holzman produced the series when it was spun off from Animaniacs, as well as the season it ran primetime on the WB. After the first season Hastings left the show and Mills took over as the supervising producer.
Writing
The original Pinky and the Brain shorts on Animaniacs were written primarily by Peter Hastings. Upon moving into its own series, the writing staff included Gordon Bressack, Charles M. Howell IV, Earl Kress, Wendell Morris, and Tom Sheppard. Comedian Alex Borstein was also a staff writer, years before her fame on MADTV and Family Guy. Classic Warner Bros. cartoon director Norm McCabe also wrote for the series.
Voice actors
Pinky and the Brain were voiced by Rob Paulsen and Maurice LaMarche, respectively. The series also used the work of many of the same voice actors for Animaniacs, including Tress MacNeille, Jess Harnell, Frank Welker, Nancy Cartwright, Janet Waldo and Jeff Bennett. Celebrities such as Roddy McDowall, Nora Dunn, Townsend Coleman, Ernest Borgnine, Eric Idle, Dick Clark, Ed McMahon, Steve Allen, Joyce Brothers, Gavin MacLeod, John Tesh, Michael McKean, Garry Marshall, Mark Hamill, James Belushi, and Steven Spielberg have all performed guest voice work for the series as well.
Cree Summer has also voiced characters in Pinky and the Brain and reprised her role as Elmyra Duff during Pinky, Elmyra & the Brain.
Music
As with Animaniacs, Pinky and the Brain was scored by a team of composers, led by Emmy-Award-winning composer Richard Stone. This team included Steven Bernstein and Julie Bernstein, who also orchestrated and sometimes conducted the 40-piece orchestra. The recordings were done on Stage A on the Warner Bros lot, the same stage (and with the same piano) where Carl Stalling recorded his Looney Tunes music. The theme song for Pinky and the Brain was composed by Richard Stone with lyrics by Tom Ruegger.
Two versions of the opening sequence and theme, with slightly different lyrics, were used during the Animaniacs skits. In the first version, Yakko, Wakko, and Dot (voiced respectively by Paulsen, Harnell, and MacNeille) popped up in the lab and sang the theme while letting the two mice out of their cage. The second, later version had the singers off-camera as the Brain picked the lock on the cage door with a small needle to free himself and Pinky. On the Pinky and the Brain series, the theme gained an additional two verses and was sung by Harnell, Dorian Harewood, Jim Cummings, and Paulsen.
The score sometimes includes references to classical music. For example, in the episode where the Brain builds a new papier-mâché Earth, the theme from the 2nd and 4th movements of Dvořák's New World Symphony can be heard throughout the episode. The episode Napoleon Brainaparte makes frequent reference to the French anthem, La Marseillaise, while in the episode in which Pinky becomes the artist "Pinkasso", Mussorgsky's Pictures at an Exhibition can be heard.
Animation
Like Animaniacs, most of the original Pinky and the Brain skits used a variety of animation studios, including Tokyo Movie Shinsha, StarToons, Wang Film Productions, and AKOM. The bulk of the episodes created outside of Animaniacs (seasons 2 and beyond) were produced by Rough Draft Studios, Wang Film Productions and AKOM. The only episode that was animated by Tokyo Movie Shinsha on the spin-off series was A Pinky and the Brain Christmas.
Humor
Like Animaniacs, much of the humor in Pinky and the Brain was aimed at adult audiences. Parodies of pop culture icons were quite common on the series, more so during the original episodes developed for the WB prime time slot. In addition to previously mentioned political and actor caricatures, some episodes included complete parodies like those in Animaniacs. The episode "The Megalomaniacal Adventures of Brainie the Poo" parodies The Many Adventures of Winnie the Pooh (or simply Winnie the Pooh). "Cameos" include Jagger instead of Tigger and Algore instead of Eeyore. Algore is "full of hot air", and shown floating like a balloon. Other parodic elements include Christopher Walken in place of Christopher Robin and the "Brainie the Poo" book appears to have been authored by "A. A. Meeting." The three-part episode "Brainwashed" included several allusions to the television show The Prisoner, though everyone in this version of the Village was identified by the hat that they wore, and not by a number.
Three songs resemble the musical skits in Animaniacs, matching existing music with new lyrics. Pinky sings "Cheese Roll Call" to John Philip Sousa's march "Semper Fidelis" praising his love for all cheeses from around the world. To the music of "Camptown Races", Brain lists the major parts of the human brain, with Pinky jumping in at the chorus to shout "Brainstem! Brainstem!". "A Meticulous Analysis of History" is set to "When I Was a Lad" from Gilbert and Sullivan's H.M.S. Pinafore, and sung by both Brain and Pinky, with Brain reciting the rise to power of such historical leaders as Napoleon and Cleopatra, while Pinky mentions how they all fell. In addition, "Brainwashed" featured a song called the Schmëerskåhøvên, a parody of the Macarena, which would brainwash people if it was done correctly. The song includes such odd lyrics as "Put your fingers in your ears, then stick them in your belly" and "Bop yourself on the head and cross your eyes."
Like Animaniacs, there was a gag credit in the closing credits: each show featured an English word appropriate for the episode with its definition. For example, "Around the World in 80 Narfs", where the mice are foiled by trying to speak "New York cabbie" and end up going in circles in one location, the gag credit word was "anophelosis" defined as "morbid state due to extreme frustration".
Another common element in nearly every episode is the following exchange (often referred to by the acronym "AYPWIP"):
Brain: Pinky, are you pondering what I'm pondering?Pinky: I think so, Brain, but...
Pinky's response ends with a non sequitur such as, "we're already naked", "isn't a cucumber that small called a gherkin?" or "if they called them Sad Meals, kids wouldn't buy them." Brain would then become furious, often bashing Pinky on the head. A few times in the series Pinky and Brain indeed pondered the same thing, though in one of these Pinky dismissed his idea as being too stupid. Just one time the answer was "Yes I am!", when Pinky's intelligence is elevated to match Brain's. In another episode, it turns out that what Pinky was pondering was that he and Brain never ponder the same thing, which turned out to be part of what Brain was pondering as well. In a short episode ("Pinky's P.O.V.") the spectator sees everything Pinky sees (including his imaginations) and hears his thoughts. His brain seems to censor a large portion of Brain's dialogue, leaving Pinky to wander into random internal tangents until Brain asks the question. Pinky then responds with whatever was on his mind at the end of the tangent.
Response
Popularity
Pinky and the Brain were popular on Animaniacs, and the popularity continued into their own series. It attracted many of the same fans as Animaniacs and Internet outreach attracted more. Maurice LaMarche and Rob Paulsen appeared on voice actor tours around the Warner Bros. Studio Stores.
In an interview on the third DVD volume, LaMarche and Paulsen noted that Roy Langbord (vice-president of Showtime), Al Franken, and Barenaked Ladies are fans of the shows. Naughty Dog co-founder Jason Rubin was also fond of the series; the character of the Brain served as an influence in the creation of Doctor Neo Cortex, the main antagonist of the Crash Bandicoot video game series.
Nominations and awards
Pinky and the Brain won several Emmy and Annie Awards. In 1996, the series won an Emmy Award for Outstanding Animated Program for the episode A Pinky and the Brain Christmas. Paulsen won the Annie Award for Outstanding Individual Achievement for "Voice Acting by a Male Performer in an Animated Television Program Production" in 1996 and 1997, while LaMarche won the same in 1998. Paulsen also won an Emmy Award for Outstanding Performer in an Animated Program for his role as Pinky subsequently in 1999. The series itself won the 1999 Daytime Emmy for "Outstanding Special Class Animated Program".
The episode "Inherit the Wheeze", in which Brain was subject to the effects of smoking by a tobacco company, won a PRISM Award for its anti-smoking message.
References in other media
The Rice University Neologism dictionary includes not only "narf" as a random sound or nonce word, but also "narfed" as a verb to mean "to be struck completely" with some embarrassment or folly, much as Pinky would be hit on the head by Brain after his follies ruined Brain's plan. The International Dictionary of Neologisms includes the word "narfistic" as "an idea or concept that works fine when you think about it – but is very difficult to express to someone else", as a result of Pinky only saying "Narf!" after Brain elaborates on one of his extensive plans.
In one of the host segments in the Hobgoblins episode of Mystery Science Theater 3000, Pearl Forrester summons her sidekicks Professor Bobo and Observer over by calling, "Pinky! Brain!"
In the post-apocalyptic role-playing game Fallout 2 by Interplay, a couple of mutant albino mole rats appear. One creature is utterly insane, muttering intentions of taking rulership. The other is a highly intelligent cult leader who has intricate plans to claim domination of the post-apocalyptic world; he also has a taste for Cheezy Poofs.
Pinky and the Brain were alluded to in The Incredible Hulk #438 as two white mice kept by Omnibus. One of the realistically drawn mice had an enlarged cranium, and when their cage was destroyed the sound "narf" is indicated. Also, when Jailbait asked what they would do during the night, Hotshot replied "The same thing they do every night...whatever that is."
The track "Great Day" on the album Madvillainy by the eponymous duo of MF Doom and Madlib features a reference to one of Brain's famous catchphrases: "DOOM, are you pondering what I'm pondering?/Yes, but why would the darn thing be wandering?"
The Virgin New Adventures Doctor Who novel, Death and Diplomacy by Dave Stone includes two characters repeating the "Are you pondering..." lines, and near the end, two of the fallen villains in the story recover, one telling his comrade that they must prepare for tomorrow night when they will take over the universe.
This is Not a Game, a novel by Walter Jon Williams begins "Plush dolls of Pinky and the Brain overhung Charlie's Monitor..." and the theme of world domination is central to the plot.
In the game Destroy All Humans!, during the final boss battle against Silhouette when you read her mind one of the things she says is "What do I do? The same thing I do every night. Try and take over the world!"
In the Robot Chicken episode "Kramer vs. Showgirls", a sketch has Michael Moore interviewing cartoon characters from the 1990s, including Pinky and the Brain. Pinky had an ear growing on his back and Brain was moved to another cage, as it turned out his large head was a result of Paget's disease, and he had been rendered blind and had arthritis as a result of the disease. Alan Tudyk voiced Pinky and Seth Green voiced Brain.
Another episode has LaMarche reprising his role of Brain in "Eviscerated Post-Coital by a Six Foot Mantis" in a sketch where Pinky and the Brain get sent on a psychedelic trip after being injected with phencyclidine.
In the MAD episode "Spy vs. Spy Kids/The Superhero Millionaire Matchmaker", Mickey Mouse captures Pinky and the Brain in a cage.
The opening conversation between Pinky and Brain ("Gee, Brain...") that is shown in every episode is sampled in "Joey Bada$$"'s World Domination.
In The New Batman Adventures episode "Torch Song", Batman asks Batgirl "So, what are you doing tonight?" to which Batgirl answers "Same thing we do every night, Pinky!". Batman replies "What?", followed by "Never mind." from Batgirl.
In the first novel of The Laundry Files, The Atrocity Archive, the hero Bob Howard's roommates are nicknamed Pinky and the Brain.
In 2011, a chorus line in the song "Take Over the World" by YouTuber Ray William Johnson (under the channel name Your Favorite Martian) sampled the Pinky and the Brain catchphrase.
In 2014, at the end of Nostalgia Critic's review of The Purge, Rob Paulsen and Maurice LaMarche reprised their roles as Pinky and the Brain respectively, in animated form, at the very end of the episode. The segment involves Brain finally losing his temper with Pinky and spewing profanity-laced insults at him, causing Pinky to burst into tears. The segment then cuts to live-action footage of LaMarche and Paulsen recording their lines, with The Critic behind them. LaMarche asks if this is for a kid's show, to which The Critic says, "Just say it, people have been wanting to hear this for years."
In the web series Camp Camp (created by Rooster Teeth) episode "Journey to Spooky Island", the characters come across a laboratory with horrific experiments gone wrong. One of the cases labeled "Take a Cartoon Literally #303" has a mouse with a grotesquely huge brain and another with its head removed and replaced with a finger. The brainy one writes 'Kill Me' on the glass.
In the 2018 comedy-drama film Tully, Marlo (Charlize Theron) asks the eponymous night nanny (Mackenzie Davis) what she usually does in the daytime, to which Tully replies, "Same thing I do every day, try to take over the world!"
On February 15, 2019, the group Postmodern Jukebox released a video for their rendition of the theme song (done in jazz style); this video featured Rob Paulsen and Maurice LaMarche working at the bar in the background, performing a short monologue as their respective characters in the middle of the video.
In 2019, during one of the final episodes of the animated series My Little Pony: Friendship Is Magic, entitled "The Ending of the End: Part 2", Pinkie Pie asks "What are we gonna do, Twilight?", which Twilight Sparkle replies "The same thing we do every time, Pinkie. Try to save the world!"
In 2021, an image of Brain appears in The Simpsons Season 33 episode "The Wayz We Were".
History
On Animaniacs and Pinky and the Brain
Pinky and the Brain first appeared as a recurring skit on the animated series Animaniacs, another series produced by Steven Spielberg. On September 3, 1993, Pinky and the Brain premiered on television in the episode "Win Big", which aired on the FOX network.
On September 9, 1995, Pinky and the Brain were spun off onto their own half-hour series on Kids' WB!, with each episode consisting of one or more segments, including some of the segments from Animaniacs. The first season was scheduled in a prime time slot from September 10, 1995 through July 21, 1996, as part of the new WB network lineup, with episodes also being repeated within the Saturday morning cartoon block. It had been envisioned for the series to be the WB network's answer to The Simpsons, at that point in its 7th season, which was running on the FOX network. The series tended to have more jokes and humor aimed at adults rather than children. Due to poor ratings following the first season, primarily due to running against 60 Minutes, subsequent seasons were moved to Saturday mornings as part of the Kids' WB! programming block.
Even though they had their own series, they still had several shorts in Animaniacs after they got the series, still appeared in the series' intro and often made cameo appearances.
On Pinky, Elmyra & the Brain
In 1998, the overall structure within the WB Network changed, including the placement of Jamie Kellner as head of the Kids WB! programming. Along with this came pressure on the writers of the series to back off on the idea of world domination and to include more characters on the series. The episode "Pinky and the Brain...and Larry" was a response to this pressure, attempting to show the studio heads that the series was fine as it was, that Pinky and the Brain worked together as a comedy duo - each balancing each other out with their flaws and personalities - and that a third character (or any extra characters at all) would be out of place and thus unnecessary to the plot. At this point, Peter Hastings, a key writer for the series, decided to quit, with his last script being "You'll Never Eat Food Pellets In This Town Again!", directly addressing the issue of network executives trying to retool shows that otherwise already work. Following the production of the episode, the network backed off from forcing new characters into the show.
With increased pressure from the WB network, the series eventually was retooled on September 19, 1998, into Pinky, Elmyra & the Brain, in which Pinky and the Brain were owned by Tiny Toon Adventures character Elmyra Duff; the unusual change in format was even sarcastically noted in the altered title song, with lyrics such as "It's what the network wants, why bother to complain?". The decision was not well received by the existing crew. For one, according to Paulsen, Spielberg had stated that the Tiny Toons and the Animaniacs/Pinky and the Brain universes were to be kept separate. Furthermore, the chemistry between the characters were altered; by introducing Elmyra (who tended to be even more dense than Pinky was), it shifted Pinky to become the useless "Larry" of this series, as described by Paulsen. This series lasted for 13 episodes, six of which were shown unedited and seven of which were split up into segments and aired as a part of The Cat&Birdy Warneroonie PinkyBrainy Big Cartoonie Show.
On the Animaniacs revival
Pinky and the Brain, with voice work by Paulsen and LaMarche, were featured as primary recurring characters along with the Warner siblings as part of the 2020 revival of Animaniacs produced by Amblin and Warner Bros. for broadcast on Hulu. Two seasons of 13 episodes each were ordered, with the first season first broadcast on November 20, 2020 and the second first broadcast on November 5, 2021.
Merchandise
Pinky and the Brain, along with Animaniacs, aired coincident with the formation of the Warner Bros. Studio Store chain across the United States, and, as a result, numerous T-shirts, coffee mugs, stuffed animals, animation cels, and original artwork from the show were available through these outlets. Other merchandise included comic books, computer games, and videotapes. When Warner Brothers acquired the Hanna-Barbera animation properties in 1998, there was a significant decrease with such merchandise through the store. By the time the series was cancelled, very little merchandise was available.
VHS releases
Four VHS collections of Pinky and the Brain episodes were released in 1996 and 1997, each with approximately two to four episodes that included shorts from Animaniacs. These collections are now out of print.
DVD releases
[[File:Pinky and the Brain vol1.jpg|thumb|right|upright| DVD cover for Pinky and the Brain Volume 1]]
Warner Home Video has released all 66 episodes on DVD in Region 1 in a three-volume set.
Comic books
Pinky and the Brain were also regulars in the Animaniacs comic book series published by DC Comics. From July 1996 to November 1998, they also starred in their own comic book series (also published by DC Comics), which ran first for one Christmas Special issue and then 27 regular issues before its cancellation. Following the cancellation of the Pinky and the Brain series, the two mice later starred in stories that took up half of the later issues of the Animaniacs comic book series which, starting at issue #43, was re-titled Animaniacs! featuring Pinky and the Brain and ran for another 16 issues before its cancellation.
Video games
There are two video games based on Pinky and the Brain. The first, a PC game called Pinky and the Brain: World Conquest, was produced by SouthPeak Games and distributed by Warner Bros. The second was Pinky and the Brain: The Master Plan for the Game Boy Advance. The game was produced by Warthog and distributed by SWING! Entertainment in 2002. A third game, titled simply Pinky and the Brain, was announced for the Sega Saturn in 1996 and was planned to be published by Konami, but was later cancelled. The characters have also appeared in several of the Animaniacs video games, such as Animaniacs: The Great Edgar Hunt.
Music
While Pinky and the Brain does not feature as many songs as Animaniacs, some of the music from the show can be found across the three Animaniacs CDs. An expanded version of the Animaniacs'' skit "Bubba Bo Bob Brain" presented in a radio drama or audiobook fashion was released as a read-along book and CD in 1997 by Rhino Entertainment.
See also
Jamie Kellner
References
External links
Animaniacs
1995 American television series debuts
1998 American television series endings
1990s American animated television series
Animaniacs characters
Television duos
Animated duos
DC Comics titles
Fictional genetically engineered characters
Animated television series about mice and rats
Fictional scientists
Television supervillains
Television series created by Tom Ruegger
Kids' WB original shows
Television series by Warner Bros. Animation
Television series by Amblin Entertainment
Television series by Warner Bros. Television Studios
American animated television spin-offs
Annie Award winners
The WB original programming
Cultural depictions of Orson Welles
Male characters in animated series
Animated television characters introduced in 1993
English-language television shows
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"Polyamory, the lifestyle or choice of having multiple mutually aware and consenting loving relationships, often requires a degree of negotiation and individual choice to reach a solid basis for relationships. In negotiating the terms of polyamorous relationships, practitioners emphasize values within polyamory, as opposed to referring to predetermined rules and roles.\n\nThe values discussed here are ideals often referred to in articles and discussion on the subject. As with any ideals, their adherents sometimes fall short of the mark; however, major breaches of a polyamorous relationship's ideals are taken as seriously as such breaches would be in any other relationship.\n\nCommon values associated with polyamory by its practitioners\nUnlike other forms of open relationship such as Swinging, polyamorous relationships emphasize an emotional bond. Many people in both the swinging and polyamory communities see both practices as part of a continuum of open intimacy and sexuality.\n\nFidelity and loyalty\nMost monogamists define fidelity as committing to only one partner (at a time), and having no other sexual or relational partners during such commitment. The nonmonogamous version of this is polyfidelity, a specific form of polyamory defined by a lasting, sexually exclusive commitment to multiple partners. \n\nPolyamorists generally base definitions of 'commitment' on considerations other than sexual exclusivity, e.g. 'trust and honesty' or 'growing old together'.\n\nSome polyamorists define fidelity as being honest and forthcoming with their partners with respect to their relational lives, and keeping to the commitments they have made in those relationships. Others prefer to emphasise loyalty, sometimes defined as the ability to rely upon the other person's support, care, and presence.\n\nA baseline to measure fidelity that is sometimes used in polyamory is: If you have to hide what you are doing outside of any particular relationship, then you are not being faithful to the relationship, yourself, or your partner.\n\nTrust, honesty, dignity and respect\nMost polyamorists emphasize respect for all partners. Withholding information—even a \"don't ask, don't tell\" agreement—is often frowned upon, because it implies that partners cannot handle the truth or cannot trust those they love to keep their commitments. A partner's partners should be accepted as part of that person's life rather than merely tolerated.\n\nA relationship that requires deception, or where partners are not allowed to express their individual lives, is often seen as a poor model for a relationship. The trust in a polyamorous relationship assumes that all involved partners love (or care about) the others, will come back, and will treat the relationship honestly and appropriately, as something of value and to be respected.\n\nAs part of this, dignity is often taken as a key value in a relationship. The idea here is that each partner will support, and not undermine, the other, and (where relevant) will not use a secondary relationship in a way that deliberately harms or destabilizes the other party or other relationships.\n\nCommunication and negotiation\nLacking a \"standard model\" for polyamorous relationships, participants in a relationship may have differing ideas about how that relationship should work. If unaddressed, such mismatched expectations can be extremely harmful to the relationship. For this reason, many polyamorists advocate explicitly deciding the ground rules of a relationship with all concerned.\n\nIn contrast to some other forms of negotiated relationship (e.g. the prenuptial agreement) polyamorists commonly view this negotiation as an ongoing process throughout the lifetime of the relationship.\n\nIn more conventional relationships, participants can settle on a common set of expectations without having to consciously negotiate them, simply by following societal standards (a husband and wife are expected to support one another financially, for instance). Because polyamorous relationships cannot rely on societal standards as a starting point, much more within the relationship must be chosen along the way by talking and by mutual respect and understanding, rather than assumed.\n\nPolyamorists take a pragmatic approach to their relationships; they accept that sometimes they and their partners will make mistakes and fail to live up to these ideals. When this happens, communication is an important channel for repairing any damage caused by such breaches.\n\nNon-possessiveness\nPeople in conventional relationships often agree not to seek other relationships under any circumstances, as they would threaten, dilute or substitute for the primary relationship. Polyamorists believe these restrictions replace trust with possessive prohibitions, and place relationships into a framework of ownership and control. This reflects cultural assumptions that restrictions are needed to stop partners \"drifting\", and that additional close relationships would be a serious threat or dilution of that bond.\n\nPolyamorists tend to see their partner's partners in terms of the gain to their partner's life rather than the threat to their own. The old saying \"If you love someone, set them free; if they come back, they are yours -- if not, they never were\" describes a similar type of outlook. For this reason, many polyamorists see a \"possessive\" view of relationships as something to be avoided. This takes a great deal of trust. (A simple test of success: would seeing one's lover find another partner be cause for happiness [compersion] or alarm?)\n\nAlthough non-possessiveness is an important part of many polyamorous relationships, it is not as universal as the other values discussed above. Alternatives include arrangements in which one possessive primary relationship is combined with non-possessive secondary relationships (common in open marriages), and asymmetrical relationships in which \"ownership\" applies in only one direction.\n\nSee also\nAlternative lifestyle\nEthics\nMorals\n\nReferences\n\nSexual fidelity\nPolyamorous culture\nPolyamory",
"In social science, a social relation or social interaction is any relationship between two or more individuals. Social relations derived from individual agency form the basis of social structure and the basic object for analysis by social scientists. Fundamental inquiries into the nature of social relations feature in the work of sociologists such as Max Weber in his theory of social action. Social relationships are composed of both positive (affiliative) and negative (agonistic) interactions, representing opposing effects.\n\nSocial relationships are a special case of social relations that can exist without any communication taking place between the actors involved. Categorizing social interactions enables observational and other social research, such as Gemeinschaft and Gesellschaft (lit. 'community and society'), collective consciousness, etc. However, different schools and theories of sociology and other social sciences dispute the methods used for such investigations.\n\nForms of relation and interaction \nAccording to Piotr Sztompka, forms of relation and interaction in sociology and anthropology may be described as follows: first and most basic are animal-like behaviors, i.e. various physical movements of the body. Then there are actions—movements with a meaning and purpose. Then there are social behaviors, or social actions, which address (directly or indirectly) other people, which solicit a response from another agent.\n\nNext are social contacts, a pair of social actions, which form the beginning of social interactions. Social interactions in turn form the basis of social relations. Symbols define social relationships. Without symbols, our social life would be no more sophisticated than that of animals. For example, without symbols people would have no aunts or uncles, employers or teachers-or even brothers and sisters. In sum, symbolic integrations analyze how social life depends on the ways people define themselves and others. They study face-to-face interaction, examining how people make sense out of life, how they determine their relationships.\n\nSee also \n\nAffectional action\nCommunicative action\nDramaturgical action\nInstrumental and value-rational action\nInterdependence\nInterpersonal relationship\nRelations of production\nSocial isolation\nSocial movement\nSocial multiplier effect\nSymbolic interactionism\nTraditional action\n\nRelated disciplines \n Engaged theory\n Social philosophy\n Social psychology\nRelationship Science\n\nReferences\n\nBibliography\n Azarian, Reza. 2010. \"Social Ties: Elements of a Substantive Conceptualisation.\" Acta Sociologica 53(4):323–38.\n Piotr Sztompka, Socjologia, Znak, 2002, \n Weber, Max. \"The Nature of Social Action.\" In Weber: Selections in Translation, edited by W. G. Runciman. Cambridge: Cambridge University Press. 1991.\n\nCommunity building\nInterpersonal relationships"
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"Daniel Boone",
"Youth"
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Where was Daniel Born?
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Where was Daniel Boone Born?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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"Hannah Daniel (born 20 January 1986) is a Welsh actress from Cardiff, Wales, best known for her roles on TV series Hinterland, Keeping Faith and Holby City.\n\nEarly life\nHannah Daniel was born in Heath Hospital and raised in Whitchurch, Cardiff. She attended Ysgol Gyfun Gymraeg Glantaf and later read English literature at University College London, By age 24, she was a S4C presenter.\n\nGeorgia Lee and Daniel wrote and directed (You Have Reached Your) DESTINATION, about a 29 year old Uber driver's pregnancy.\n\nPersonal life\n\nDaniel lives in Crystal Palace, London, with her partner, the actor Richard Harrington. Daniel and Harrington worked together for all three series of the dual-language crime drama Hinterland / Y Gwyll (aired 2013-2016), where every scene was shot first in Welsh and then in English. Each of the two productions was then compiled and aired as a separate three-series programme. Harrington appeared as the lead actor, DCI Tom Mathias, and Daniel played one of his subordinates, DS Siân Owens. They have a son together, who was born in 2019.\n\nFilmography\n\nTelevision\n\nFilm\n\nReferences\n\nExternal links\nofficial\n\n1986 births\nLiving people\nWelsh television actresses\nWelsh soap opera actresses\n21st-century Welsh actresses\nPeople educated at Ysgol Gyfun Gymraeg Glantaf\nActresses from Cardiff\nAlumni of University College London",
"{{Infobox artist\n | name = Daniel Blok\n | image = Mecklescudo.jpg\n | caption = <small>Seven-section coat of arms of Mecklenburg.'' possibly by Daniel Block.</small>\n | birth_name \t = Daniel Blok\n | birth_date = 1580\n | birth_place\t = Stettin\n | death_date = \n | death_place\t = Rostock\n | field = Painting\n | movement = Baroque\n | website = \n}}Daniel Blok or Daniel von Block''' (1580–1660) was a German Baroque painter.\n\nBiography\nAccording to Houbraken he was the son of Marten Blok of Utrecht. He was sent to learn the art of painting portraits from Jakob Scherer in Gdańsk. He attracted the attention of Gustavus Adolphus of Sweden, for whom he painted portraits. \nHoubraken goes on to say that he made a genealogical and heraldic family tree for the Dukes of Mecklenburg-Schwerin, and went from being painter to becoming courtier, but he lost everything in a fire in 1651 during the Thirty Years War. He survived and fled to Rostock, where he lived to the age of 80.\n\nHis son Benjamin Block also became a court painter. According to the RKD, Daniel Block worked in Schwerin, but he must have been active in Lübeck also, since that is where his son was born in 1631.\n\nReferences\n\n1580 births\n1660 deaths\nGerman Baroque painters"
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"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England"
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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When did he leave England?
| 2 |
When did Daniel Boone leave England?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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"Herbert Edward Rhodes (11 January 1852 – 10 September 1889) was an English amateur first-class cricketer, who played ten first-class matches for Yorkshire County Cricket Club from 1878 to 1883, and twenty five matches overall for teams including the Marylebone Cricket Club (MCC) (1878–1883), England XI (1879), A.W. Ridley's XI (1879), Gentlemen of England (1881–1882) and Orleans Club (1883).\n\nBorn at Hennerton House at Wargrave in Berkshire, England, Rhodes was educated at Eton, and went up to Jesus College, Cambridge. He did not play in any first-class cricket while at university, but he was the stroke of the Cambridge boat in the 1873, 1874 and 1875 races and he rowed at number seven in the 1876 race.\n\nHe was a right-handed batsman and wicket-keeper, who took fourteen catches and completed two stumpings in first-class cricket. He scored 424 runs at 11.45, with a best score of 64 against I Zingari. He was selected to tour India with Vernon's team in the winter of 1889/90. However, just before he was due to leave he suffered a fatal accident when he fell from a hotel balcony in Dover.\n\nReferences\n\nExternal links\n Cricinfo Profile\n Cricket Archive Statistics\n\n1852 births\n1889 deaths\nEnglish cricketers\nYorkshire cricketers\nPeople educated at Eton College\nAlumni of Jesus College, Cambridge\nCambridge University Boat Club rowers\nPeople from Wargrave\nAccidental deaths from falls\nMarylebone Cricket Club cricketers\nOrleans Club cricketers\nGentlemen of England cricketers\nA. W. Ridley's XI cricketers",
"William Pontus (1583–1652) was an English Pilgrim and a notable Separatist activist and radical. He was a prominent voice against the Church of England, and became an important settler of Plymouth Colony.\n\nBiography\nWilliam Pontus was born in 1583, in the town of Dover, England. He was born to strict separatist parents, and fled to Holland as a young man, to avoid religious persecution, where he worked as a fustian worker. Once in Leyden, William joined the Pilgrims, and he and other fellow Pilgrims published a newspaper called \"The Pilgrim Press,\" which openly denounced and insulted the Church of England. Pontus knew full well that if he had published this scandalous material in England, he would've been hanged for heresy.\n\nOn 4 December 1610, William married Wybra Hanson, a relative of future Plymouth Colony leader William Bradford. She was as radical as Pontus was: coming from a prominent family of separatists, she was arrested multiple times for her religious views, which made her hatred of the Church of England grow even stronger. At the age of 17, she escaped England, coming to live with her relative, William Bradford.\n\nWhen the Mayflower departed Holland in July 1620, the Pontus family did not accompany their fellow Pilgrims, but stayed behind in Leyden. In fact, The family did not leave Holland until 1630. When they arrived in Plymouth, William Pontus was in a financially bad shape. He was too poor to be taxed upon his arrival, probably due to the amount of money he had spent on travelling to The New World. However, he built up his fortune over the years, and became one of Plymouth's most influential colonists. He received multiple land grants from the governor of the colony, William Bradford, for repairing the Herring Weir for the town.\n\nWilliam Pontus died in Plymouth on 9 February 1652.\n\nChildren\nWilliam Pontus and Wybra Hanson had two children:\n\n Mary Pontus: Born around 1612. She married John Glass in 1645, and had one child: Hannah Glass. She later remarried to Phillipe Delano. They had no children.\n Hannah Pontus: Born in 1614. She married John Churchill in 1644. She had six children.\n\nBibliography\n http://www.marthachurchill.com/family/chJohnChildren.htm\n http://massandmoregenealogy.blogspot.com/2012/01/william-pontus-abt-1583-to-1652-england.html\n\n1583 births\n1652 deaths"
] |
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"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)"
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C_772cc11b9fe54084b4f80a51b869fc06_1
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Where did he emigrate to?
| 3 |
Where did Daniel Boone emigrate to?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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Pennsylvania in 1713, to join William Penn's colony of dissenters.
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
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"Richard Kruspe (born Zven Kruspe or Sven Kruspe; 24 June 1967) is a German musician and guitarist of the German Neue Deutsche Härte band Rammstein, as well as the lead singer of the US-based band Emigrate.\n\nEarly life\nKruspe was born in Wittenberge (then part of East Germany). He later changed his first name to Richard. He has two older sisters and an older brother. His parents divorced when he was young, and his mother remarried; Kruspe did not get along with his stepfather. The family moved to the village of Weisen when Kruspe was young. Because of his poor relationship with his stepfather, Kruspe often ran away from home in his early teens, sleeping on park benches.\n\nIn a 2014 interview with Metal Hammer, he commented on life in East Germany, stating: \"The thing about East Germany is that it was great to grow up there, until you were 12. You were presented with the illusion of a very healthy society, which worked unless you asked questions – and you don't ask questions until you're 12.\"\n\nAt the age of 16, Kruspe and some friends visited Czechoslovakia, where he bought a guitar, originally planning to sell it at a profit, but then started playing it.\n\nCareer\n\nIn 1985, bored with the apathetic music scene in his hometown, Kruspe moved to East Berlin and lived on Lychener Straße, where he \"made music all day\". For two years, he lived in an apartment with a drum kit and a guitar and made music by himself as he did not know anybody there. \"It was a lonely time\", according to Kruspe, but he used it to explore music.\n\nOn 10 October 1989, before the fall of the Berlin Wall, Kruspe was riding on the subway. After coming back above ground, he found himself in the middle of a political demonstration. He was hit on the head and arrested just for being there and thrown in jail for six days. Once out of jail, he decided to leave East Germany. Because of the Eastern Bloc, he entered West Germany by traveling through Czechoslovakia, Hungary and Austria. When the Berlin Wall came down, he moved back east of Berlin.\n\nKruspe's first band, Das Elegante Chaos, was formed in the late 1980s. The band played live with other bands such as First Arsch (in which Till Lindemann was a drummer). In 1989, when Kruspe was 22, some songs were recorded by the band; these songs were later released in 2011 on the album Lyrik by Dachboden-Records. Seeking a more independent experience, Kruspe formed Orgasm Death Gimmick, which operated between 1991 and 1993; Orgasm Death Gimmick released three demo tapes, and a promotional tape through their label, Wydoks, before disbanding.\n\nDuring his early career, Kruspe also played with other bands, such as First Arsch. Finally, Rammstein was formed in 1994, when Kruspe, who lived with Oliver Riedel and Christoph Schneider at the time, was looking for a new band in which to create a new style of music.\n\nPersonal life\n\nKruspe married South African actress Caron Bernstein on 29 October 1999. The ceremony was Jewish, and Kruspe composed the music for it. He took the name Richard Kruspe-Bernstein during their marriage. He moved from Berlin to New York in 2001 to live closer to Bernstein, but they separated in 2004, and he changed his last name back to its original form. He moved back to Berlin in 2011.\n\nDiscography (selection)\n\nRammstein\n\nEmigrate \n\n2007: Emigrate\n2014: Silent So Long \n2018: A Million Degrees\n2021: The Persistence of Memory\n\nNotes\n\nReferences\n\nExternal links\n\nRammstein website\nEmigrate website\n\n1967 births\nLiving people\nPeople from Wittenberge\nGerman heavy metal guitarists\nGerman male guitarists\nGerman heavy metal singers\nGerman male singers\nLead guitarists\nRammstein members\nGerman industrial musicians\nEmigrate (band) members\nIndustrial metal musicians",
"Emigrate is an American industrial metal band based in New York City, led by German Richard Kruspe, the lead guitarist of the Neue Deutsche Härte band Rammstein.\n\nHistory \n\nKruspe started the band in 2005, writing songs with ex-wife Caron Bernstein, when Rammstein decided to take time off from touring and recording. Kruspe has previously stated that the idea for Emigrate came to him around Rammstein's Mutter era.\n\nOn September 5, 2006, members of the Rammstein.de newsletter were sent an invitation to the Emigrate newsletter and given the chance to download the song \"Wake Up\", a sneak peek of the upcoming album. Three song samples were also posted on Emigrate's website: \"My World\", \"Babe\", and \"Temptation\". Fans voted \"Babe\" as being their favorite, and newsletter recipients were allowed to download \"Babe\" in its entirety starting November 29, 2006. Babe is the only one of these songs where the subject matter, a parent's unconditional love for their child, is not Bernstein's point of view, as she didn't have any children at the time. Kruspe then explained exactly how he felt and she turned his feelings into lyrics. As opposed to \"My World\" which is entirely about her feelings of her life as it related to her world. On May 21, 2007, Emigrate's official website opened and \"My World\" was made available for download in its entirety to newsletter subscribers.\n\nThe video for \"My World\" has been released and can be viewed on the official website. The video was also included on the limited edition release of the album Emigrate. In addition to the video, \"My World\" is featured on the soundtracks to the third Resident Evil movie, Resident Evil: Extinction and True Confessions of a Hollywood Starlet. The soundtracks to the previous two movies contained \"Halleluja\" and \"Mein Teil\" from Rammstein, respectively. On July 27, 2007, Kruspe made an appearance on Bruce Dickinson's rock show on BBC. A video for \"New York City\" has been released. Kruspe then left the Emigrate project aside due to Rammstein reuniting in the fall of 2007 to work on their new album Liebe ist für alle da which was released in October 2009, and also to take part in the subsequent Rammstein tour.\n\nJoe Letz, who had appeared in the video for \"My World\", updated the Emigrate Facebook page on June 24, 2011, stating that Kruspe had been working on a new record.\n\nOn December 5, 2012, an announcement posted on the Emigrate Facebook page announced that demos were being recorded and reviewed, and studio time was being set up in January 2013 to begin official recording of an untitled second album.\n\nIn January 2013, Kruspe stated via the Emigrate Facebook page that drums were beginning to be mixed for the new record.\n\nIn January 2014, Kruspe, on the Emigrate Facebook page, posted that twenty tracks had been recorded for Emigrate and that mixing would be performed in Los Angeles, California, alongside Ben Grosse, with a projected release in the summer of 2014. On March 7, 2014, Kruspe announced the second album was complete and he is departing back to Berlin.\n\nOn July 22, 2014, a post was made to Emigrate's official Facebook page with a teaser trailer to Emigrate's new album, titled Silent So Long and an official release date of October 17, 2014.\n\nOn December 9, 2014, Emigrate's second album titled Silent So Long was released.\n\nOn July 26, 2018, a post on the official Facebook page announced the upcoming filming of a new music video with guests Benjamin Kowalewicz and Ian D'Sa of Billy Talent, inviting applications to participate in the recording.\n\nEmigrate's third album, A Million Degrees, was released on November 30, 2018.\n\nMembers \nCurrent members\n Richard Kruspe – lead guitar, lead vocals, keyboards, lyrics, guitars, vocals, lyrics & music, electro sequencer, producer (2005–present)\n Arnaud Giroux – bass, backing vocals, vocal recording and production, co-producer, cover design, artwork (2005–present)\n Sky Van Hoff – bass, additional guitar recording & production, bass, mixing, producer, recording (2018-present)\n Mikko Sirén – drums, studio drums (2013–present)\n\nRegular guest members\n Joe Letz – live drums (2007–present)\n Andrea Marino – live keyboards (2021–present)\n Alice Lane – live bass (2021–present)\n\nExtra members and crew members\n Caron Bernstein – lyrics\n Grace Risch – backing vocals\n Ruth Renner – backing vocals\n Terry Matlin – lyrics\n Thomas Borman – lyrics\n Florian Ammon – vocal recording\n Frank Dellé – featured artist\n Merrill Beth Nisker – featured artist\n Ian Fraser Kilmister – featured artist\n Brian Hugh Warner – featured artist\n Jonathan Davis – featured artist\n Tom Dalgety – vocal recording\n Meral Al Me – backing vocals\n Kriss Jacob – backing vocals\n Steve Binetti – additional solo guitar\n Benjamin Kowalewicz – vocals\n Tobias Forge – vocals\n Terrence Matlin – lyrics\n Johnny Christopher – lyrics & music\n Mark James – lyrics & music\n Wayne Carson Thompson – lyrics & music\n Ghøstkid – backing vocals\n Maxim Alaska Kruspe Bossieux – backing vocals\n Marcel Caccamese – backing vocals\n Matthias Schmitt – backing vocals\n Ufo Walter – bass\n Jens Dreesen – drums, mastering\n Leon Pfeiffer – additional percussion\n\nExternal staff, head staff and extra crew members\n Sascha Moser – programming (Logic and Pro Tools)\n Ulf Kruckenberg – drum engineering, drum recording and engineering\n Jacob Hellner – co-producer\n Stefan Glaumann – mixing\n Howie Weinberg – mastering\n Dirk Rudolph – design\n Felix Broede – photography\n Sascha Moser – drum and guitar editing, drum editing\n Ben Grosse – mixing\n Tom Baker – mastering\n Erik Laser – management\n Birgit Fordyce – management\n Stefan Mehnert – management\n Klaus Merz – photography\n Possi Possberg – drum tuning\n Svante Forsbäck – mastering\n Sven Kaselow – management\n Büro Dirk Rodolph – artwork\n Gregor Hohenberg – photography\n Anthony Kurtz – photography\n Anne Rebenstorff – management\n\nGuest performer\n Till Lindemann – lyrics & vocals\n\nFormer members\n Margaux Bossieux – bass, rhythm guitar, backing vocals, lyrics, featured artist, lyrics & vocals (2005–2018)\n Olsen Involtini – rhythm guitar, backing vocals, producer, recording, additional guitar, vocal recording and production, co-producer, drum recording and engineering (2005–2018)\n Henka Johansson – drums (2005–2008, 2021)\n\nDiscography\n\nAlbums\n\nSingles\n\nMusic videos \n \"My World\"\n Features Richard Kruspe on vocals and lead guitar, Arnaud Giroux on bass, Joe Letz on drums, and Margaux Bossieux on rhythm guitar.\n \"New York City\"\n Directed by the same director of \"My World\".\n \"Eat You Alive\"\n Features Richard Kruspe on vocals and lead guitar, Arnaud Giroux on rhythm guitar, Joe Letz on drums, Margaux Bossieux on bass, and Frank Dellé of Seeed on guest vocals.\n \"1234\"\n Features Richard Kruspe on vocals and lead guitar, Joe Letz on drums, Margaux Bossieux on bass, and Benjamin Kowalewicz and Ian D'Sa of Billy Talent on guest vocals and rhythm guitar, respectively.\n War\n\nReferences\n\nExternal links \n \n \n Interview with Richard Kruspe, 2008\n \n\n2005 establishments in New York (state)\nAmerican alternative metal musical groups\nAmerican industrial metal musical groups\nAmerican industrial rock musical groups\nHeavy metal musical groups from New York (state)\nMusical groups established in 2005\nMusical groups from New York City\nMusical quartets"
] |
[
"Daniel Boone",
"Youth",
"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters."
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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Did Boone go to school?
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Did Daniel Boone go to school?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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Daniel Boone spent his early years on what was then the edge of the frontier.
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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[
"Boone may refer to:\n\nPeople \n Boone (surname)\n Boone Carlyle, a character from the Lost TV series\n Boone Jenner, an ice hockey forward\n Boone Logan, a baseball pitcher\n\nPlaces in the United States\n Boone, Colorado\n Boone, Iowa\n Boone, Missouri\n Boone, Nebraska\n Boone, North Carolina\n Boone, Tennessee\n Boone, West Virginia\n Boone Grove, Indiana\n Boone Township (disambiguation)\n Boones Mill, Virginia\n Boonesboro, Missouri\n Boonesborough, Kentucky\n Booneville (disambiguation)\n Boone County (disambiguation)\n Boone River, Iowa\n\nShips \n USS Boone (FFG-28)\n USS Boone County (LST-389)\n USS Daniel Boone (SSBN-629)\n\nSchools \n Boone County High School, Florence, Kentucky\n Daniel Boone High School (disambiguation)\n William R. Boone High School, Orlando, Florida\n\nOther \n MiniBooNE, a physics experiment at Fermilab to detect neutrinos.\n Boone Hall, a southern plantation in Mount Pleasant, South Carolina\n Boone (novel), a 1990 novel by Brooks Hansen and Nick Davis\n Boone (TV series), NBC television series starring Tom Byrd and Barry Corbin\n Daniel Boone (TV series), NBC series starring Fess Parker\n Denver Boone, or Boone the Pioneer, mascot of the University of Denver from 1968 to 1998\n\nSee also \n Boon (disambiguation)\n Bone (disambiguation)",
"John Robert Boone (commonly known as Johnny Boone) is an American farmer, who was a former leader of the Cornbread Mafia in the 1980s, one of the largest domestic marijuana syndicates in American history. He has been referred to as the \"Godfather of Grass\".\n\nBiography\nBoone was born in Washington County, Kentucky. He was raised by his grandfather who was a farmer and bootlegger. Boone won state 4-H titles in high school for both sheep breeding and tobacco growing. He was a three-time football letterman and graduated in 1961. Boone did not go to college and instead started a family and became a farmer. By the 1970s, Boone was cultivating what was said to be the best breed of pot in Kentucky, labeled \"Kentucky Bluegrass\" by High Times.\n\nIn the 1980s, Boone was a leader in the Cornbread Mafia, a drug organization in Kentucky dubbed the \"largest domestic marijuana syndicate in American history\". During his time in the organization, he helped set up marijuana farms in his home state of Kentucky as well as surrounding states in the Midwest including Indiana, Illinois, and Kansas. He was arrested in 1987 as the ringleader of the organization and sentenced to 20 years in prison. \n\nIn June 2008, police discovered Boone growing 2,421 marijuana seedlings on his farm outside Springfield, Kentucky in Washington County, but Boone escaped arrest, under threat of a life sentence without parole because the bust would be his third federal conviction under the Three Strikes Law. Boone became a fugitive and the subject of a segment of America's Most Wanted. On Dec. 22, 2016, after eight years on the run, Johnny Boone was arrested in a small town outside Montreal. Boone was later sentenced to fifty-seven months in prison.\n\nLegacy\nBoone has previously admitted to his wrongdoings and been quoted as saying, \"we’re from a poor place … I don’t think anybody here is into any kind of thievery. I can only say that … in our area, marijuana is one of the things that helps put bread on the table for people.\" He was also known as being humble and taking care of his community in Marion and Washington Counties, Kentucky. During an eight year period when he was on the run, U.S. Marshals were unable to get information from people on his whereabouts, being told by residents they wouldn't tell his location even if they knew.\n\nReferences \n\nAmerican people convicted of drug offenses\nAmerican farmers\nLiving people\nYear of birth missing (living people)\nPeople convicted of cannabis offenses"
] |
[
"Daniel Boone",
"Youth",
"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters.",
"Did Boone go to school?",
"Daniel Boone spent his early years on what was then the edge of the frontier."
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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Did Daniel get in trouble as a youth?
| 5 |
Did Daniel Boone get in trouble as a youth?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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In Boone's youth, his family became a source of controversy in the local Quaker community
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
| true |
[
"Come Alive is Daniel Ash's first solo live album and was recorded in early 2002 at The Galaxy Theater in Santa Ana, California, and Slim's in San Francisco, California. The setlist features songs from Ash's time with Love and Rockets, Tones on Tail and Bauhaus as well as his solo career.\n\nTrack listing \n Come Alive\n Trouble\n Walk on the Moon\n Get Out of Control\n Sweet FA\n Spooky\n So Alive\n Ghost Writer\n Christian Says\n Mirror People\n Slice of Life\n An American Dream\n Coming Down\n OK This Is the Pops\n Go\n\nPerformers:\nDaniel Ash: Guitar and Vocals,\nJohn Desalvo: Drums,\nMike Peoples: Bass\n\nDaniel Ash albums\n2005 live albums",
"\"She's Trouble\", also known as \"Trouble\", is a song by Michael Jackson, recorded in 1981 and originally written for his Thriller LP. However, Jackson's original version was an outtake and therefore never released, either as a single or an album cut. In 1983, the song was recorded by Musical Youth (although Jackson is not credited). Musical Youth's rendition of the song reached number 65 on the US Billboard Hot 100, their second and last single to chart, after \"Pass the Dutchie\", which reached number 10 in early 1983, and number 56 on Cash Box during the winter of 1984. It also charted in Canada, peaking at number 43. On the U.S. R&B chart, \"She's Trouble\" reached number 25.\n\n\"She's Trouble\" also charted in the UK, albeit very minorly. It was the third of five singles released from their LP in the UK, the first four of which charted. It was the only charting single from the LP in North America.\n\nCharts\n\nOther cover versions\nThe song was also covered by Michael Lovesmith.\n\nReferences\n\nExternal links\n \n \n\nSongs written by Terry Britten\nMCA Records singles\n1981 songs\n1983 singles\nMichael Jackson songs\nMusical Youth songs\nSongs written by Billy Livsey\nSong recordings produced by Peter Collins (record producer)"
] |
[
"Daniel Boone",
"Youth",
"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters.",
"Did Boone go to school?",
"Daniel Boone spent his early years on what was then the edge of the frontier.",
"Did Daniel get in trouble as a youth?",
"In Boone's youth, his family became a source of controversy in the local Quaker community"
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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What was the controversy?
| 6 |
What was the controversy of Daniel Boone's family in the local Quaker community?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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two of the oldest children married outside the endogamous community,
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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[
"(February 11, 1911 – January 8, 2006) was a Japanese author notable for his book What Really Happened in Nanking: The Refutation of a Common Myth, which denies that the Nanking Massacre as traditionally understood took place. Originally written in Japanese in 1987, an English version was published in 2000 in response to Iris Chang's book, The Rape of Nanking.\n\nDocument Tampering Controversy \nA Japanese World War II veteran, Tanaka served as General Iwane Matsui's secretary at the time of Nanking Massacre in 1937. He was involved in a controversy in 1986 when he was found to have altered a key historical document, , in several hundred places when serving as the editor for its publication in 1985. He suffered academic ostracism after the controversy but remained an active author for the non-academic market.\n\nReferences \n\nJapanese writers\n1911 births\n2006 deaths\nNanjing Massacre deniers\nDeniers of Japanese war crimes\nHistorical negationism",
"The Kikuyu controversy was an Anglican church controversy in 1913-1914.\n\nHistory\nIn June 1913, William George Peel, the Bishop of Mombasa; and John Jamieson Willis, the Bishop of Uganda attended an ecumenical communion during an interdenominational missionary conference at the Church of Scotland's parish in Kikuyu, British East Africa, in what is now Kenya. Attending were Anglicans, Methodists, and Presbyterians.\n Controversy erupted in December after Frank Weston, the Bishop of Zanzibar, denounced Peel and Willis as heretics, and the issue was exhaustively debated in the press for weeks. Ultimately, the two bishops were not tried for heresy for the perceived schism. In April 1915, the Archbishop of Canterbury issued a statement concluding the matter.\n\nReferences\n\nAnglican theology and doctrine\nHistory of Kenya"
] |
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"Daniel Boone",
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"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters.",
"Did Boone go to school?",
"Daniel Boone spent his early years on what was then the edge of the frontier.",
"Did Daniel get in trouble as a youth?",
"In Boone's youth, his family became a source of controversy in the local Quaker community",
"What was the controversy?",
"two of the oldest children married outside the endogamous community,"
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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Who did the oldest children marry?
| 7 |
Who did the oldest children of Daniel Boone's family marry?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker).
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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"Marianus III (died 1321) was the sole Giudice of Arborea from 1308 to his death. He co-ruled with his elder brother Andrew from the death of their father, John of Arborea, in 1304. Their mother was Vera Cappai. They were illegitimate.\n\nIn 1312, he was constrained by the Republic of Pisa to buy his own right of succession from the Emperor Henry VII and to marry Constance of Montalcino by proxy. In 1314, he requested aid from the Crown of Aragon against the Pisans.\n\nHe restored roads and bridges, complete the walls of Oristano and her defensive towers, and constructed a new archiepiscopal palace.\n\nHe never did marry Constance, but he did cohabitate with Padulesa de Serra, who gave him six children, among whom was his successor, Hugh II.\n\n1321 deaths\nJudges (judikes) of Arborea\nYear of birth unknown",
"Johann Michael Fehr (9 May 161015 November 1688) was a German doctor, botanist and scientist who is most notable for being one of the four founding members of the German National Academy of Sciences Leopoldina.\n\nBiography \nFehr was born on 9 May 1610 to Michael Fehr and Margarete Martin. He studied Medicine at the universities of Leipzig, Wittenberg, Jena, Altdorf and at the University of Padua where he got promoted to Dr. med. et phil in 1641.\n\nIn 1642, he would marry Maria Barbara, whom he would have three children with. Upon her death in 1658, he would marry Anna Maria in Schweinfurt whom he would have four more children with.\n\nAlong with three others he founded the \"academia naturae curiosorum\" on 1 January 1652, which is now known as the German National Academy of Sciences Leopoldina, which was the first academy like it at the time making it the oldest academy of science in Germany. After the death of Johann Lorenz Bausch, he would take his position and become the second President of the academy, serving from 1666 until 1686.\n\nHe died at the age of 78 on 15 November 1688 in Schweinfurt and was buried at the Paulinerkirche in Leipzig.\n\nSelected works \n Anchora sacra vel Scorzonera (1666)\n Hiera picra seu analecta de absynthio (1667)\n\nReferences \n\nPeople from Kitzingen\nLeipzig University alumni\nUniversity of Wittenberg alumni\nUniversity of Jena alumni\nUniversity of Altdorf alumni\nUniversity of Padua alumni\n1610 births\n1688 deaths"
] |
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"Daniel Boone",
"Youth",
"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters.",
"Did Boone go to school?",
"Daniel Boone spent his early years on what was then the edge of the frontier.",
"Did Daniel get in trouble as a youth?",
"In Boone's youth, his family became a source of controversy in the local Quaker community",
"What was the controversy?",
"two of the oldest children married outside the endogamous community,",
"Who did the oldest children marry?",
"their eldest child, Sarah, married John Willcockson, a \"worldling\" (non-Quaker)."
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
|
Did Daniel have a job in his youth?
| 8 |
Did Daniel Boone have a job in his youth?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape.
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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[
"Daniel Seddiqui is the most traveled person in American history and is recognized as a job-hunting expert and cultural analyst. Daniel formed Living the Map, which raises awareness of the varying cultures, careers, and environments across the country through outreach, educational endeavors, and community building. Living the Map encourages people to explore the world around them, to understand and respect one another and to make continuous discoveries to better themselves. Two of his books, 50 Jobs in 50 States and Going the Extra Mile, have become bestsellers.\n\nMany international and national media outlets featured his story, including CNN, Fox News, ABC World News Tonight, National Public Radio, The Today Show, C-SPAN, MSNBC, Newsweek, Los Angeles Times, New York Post, New York Daily News, Associated Press, Yahoo! News, The Weather Channel, Reuters, The Huffington Post, Chicago Tribune, Chicago Sun-Times, Golf Digest, Time, Inc., The Travel Magazine, Blaze TV, The CW, FOX Sports, Forbes, Oakland Tribune, Runner's World, and the San Francisco Chronicle.\n\nAdventures\nA Piece of Your City a journey through every major U.S. city to craft a meaningful piece reflecting the culture, history, and industry of each destination. Daniel sprayed graffiti art in New York City, molded a clay piggy bank in Charlotte, weaved sweetgrass baskets in Charleston, pressed vinyl records in Cleveland, and poured latte art in Seattle.\n\nAmerican Bucket List Challenge inspired by the tension and division in America's current climate, Daniel embarked on a 50 states in 50 days mission to explore cultures. He participated in a unique activity/event in each state to better understand and respect peoples' livelihoods. Of the many experiences, Daniel sang with the Mormon Tabernacle Choir in Utah, played the blues in Mississippi, tailgated at an Alabama football game, sailed in Rhode Island, and competed in a cornstalk archery contest with Cherokee Indians in Oklahoma.\n\nDrop Me In! is an education endeavor which leads Daniel into the secluded and struggling regions of America to confront the everyday challenges that many Americans face. Regions he covers are to be announced on his website.\n\n50 Jobs in 50 States Daniel has worked 50 different jobs in 50 states in 50 weeks, followed by a book, titled 50 Jobs in 50 States: One Man's Journey of Discovery across America. It was published by Berrett-Koehler Publishers and was released in March 2011. Of the many jobs, Daniel has been a lobsterman in Maine, a cheesemaker in Wisconsin, a park ranger in Wyoming, high school football coach in Alabama, and a rodeo announcer in South Dakota.\n\nEducation\nDaniel graduated from the University of Southern California in 2005 with a degree in economics. He was also a track star at both the University of Oregon and USC.\n\nProfessional life\nUnable to find a job in his chosen field after college, Daniel envisaged the plan of working a different job in a different state each week. Not long thereafter, Daniel fulfilled his plan, each week working a job that manifested the culture and economy of the state through which he passed. Daniel completed his last job in September 2009 and now has released a book to share his experiences. He is also working on a lecture circuit and semester program for college students to help find their interests and experience the cultures and lifestyles of America.\n\nPersonal life\nDaniel grew up in Los Altos, California.\n\nSources\n\nExternal links\n \n\nLiving people\nPeople from Los Altos, California\nEconomists from California\nUniversity of Southern California alumni\nUniversity of Oregon alumni\n21st-century American economists\nYear of birth missing (living people)",
"Jasper Newton \"Jack\" Daniel ( January 1849 – October 9, 1911) was an American distiller and businessman, best known as the founder of the Jack Daniel's Tennessee whiskey distillery.\n\nBiography \nDaniel was the youngest of ten children born to Calaway and Lucinda Matilda (née Cook) Daniel. He was of Scots-Irish, Scottish, and Welsh descent; his grandfather, Joseph \"Job\" Daniel, was born in Wales, while his grandmother, Elizabeth Calaway, was born in Scotland. His paternal grandparents immigrated to the United States in the late 18th century.\n\nDaniel's date of birth is unknown. According to one source, he was born in January 1849, in or around Lynchburg, Tennessee. A town fire had destroyed the courthouse records, and, because his mother died shortly after his birth, most likely due to complications from childbirth, conflicting dates on his and his mother's tombstones have left Daniel's date of birth in question. On June 26, 1851, his father remarried and had another three children with Matilda Vanzant.\n\nDaniel was raised in the Primitive Baptist church. The company that now owns the distillery claims that Jack Daniel's was first licensed in 1866. However, in the 2004 biography Blood & Whiskey: The Life and Times of Jack Daniel, author Peter Krass maintains that land and deed records show that the distillery was actually not founded until 1875.\n\nAccording to company histories, sometime in the 1850s, when Daniel was a boy, he went to work for a preacher, grocer, and distiller named Dan Call. The preacher, as the stories went, was a busy man, and when he saw promise in young Jack, he taught him how to run his whiskey still. However, on June 25, 2016, The New York Times reported the company's view that Daniel did not learn distilling from Call, but from a man named Nearest Green (misspelled as \"Nearis\" in the 1880 census)—one of Call's slaves.\n\nDaniel never married and did not have children. However, he took his nephews under his wing, one of whom was Lemuel \"Lem\" Motlow. Motlow, a son of Jack's sister Finetta, was skilled with numbers and was soon doing all of the distillery's bookkeeping.\n\nIn 1907, due to failing health, Daniel gave the distillery over to Motlow and another one of his nephews. Motlow soon bought out the other nephew and went on to operate the business off and on for about 40 years (interrupted by Prohibition at the state level in three states starting in Tennessee in 1910 and then at the federal level from 1920 to 1933 and at the state level again until 1938, and then again between 1942 and 1946 when the U.S. government banned the manufacture of whiskey due to World War II). Motlow died in 1947.\n\nDaniel died from blood poisoning in Lynchburg on October 9, 1911. An oft-told tall tale is that the infection began in one of his toes, which Daniel injured one morning at work by kicking his safe in anger when he could not get it open (he was said to always have had trouble remembering the combination). However, Daniel's modern biographer has asserted that the story is not true, offering evidence that Daniel raged on the safe a few years before dying of unrelated gangrene.\n\nSee also \n Outline of whisky\n\nReferences\n\nExternal links \n \n\nAmerican drink distillers\nAmerican people of Welsh descent\nAmerican people of Scottish descent\nAmerican people of Scotch-Irish descent\n1849 births\n1911 deaths\nInfectious disease deaths in Tennessee\nDeaths from sepsis\nPeople from Lynchburg, Tennessee\nDrink distillers\nBaptists from Tennessee\n19th-century Baptists\n19th-century American businesspeople"
] |
[
"Daniel Boone",
"Youth",
"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters.",
"Did Boone go to school?",
"Daniel Boone spent his early years on what was then the edge of the frontier.",
"Did Daniel get in trouble as a youth?",
"In Boone's youth, his family became a source of controversy in the local Quaker community",
"What was the controversy?",
"two of the oldest children married outside the endogamous community,",
"Who did the oldest children marry?",
"their eldest child, Sarah, married John Willcockson, a \"worldling\" (non-Quaker).",
"Did Daniel have a job in his youth?",
"Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape."
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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When did he set out on his own?
| 9 |
When did Daniel Boone set out on his own?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
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[
"This is a list of members of the 49th Legislative Assembly of Queensland from 1998 to 2001, as elected at the 1998 state election held on 13 June 1998.\n\n On 4 November 1998, the One Nation member for Mulgrave, Charles Rappolt, resigned. Labor candidate Warren Pitt, who had represented Mulgrave between 1989 and 1995, won the resulting by-election on 5 December 1998.\n One Nation members Shaun Nelson, Dorothy Pratt and Ken Turner left the party on 2 February 1999, and served out the remainder of their terms as independents.\n One Nation members John Kingston and Jeff Knuth left the party on 23 February 1999. Kingston served out his term as an independent. Knuth sat as an independent until 5 August 1999, when he attempted to found his own party, the Country Party QLD.\n The five remaining One Nation members, Harry Black, David Dalgleish, Bill Feldman, Jack Paff and Peter Prenzler, abandoned the party on 14 December 1999, founding their own alternative, the City Country Alliance. The five were later joined by prior colleague Knuth on 18 February 2000, once his own new party began to founder.\n On 14 December 1999, the Labor member for Bundamba, Bob Gibbs, resigned. Labor candidate Jo-Ann Miller won the resulting by-election on 5 February 2000.\n On 9 January 2000, the Labor member for Woodridge, Bill D'Arcy, resigned. Labor candidate Mike Kaiser won the resulting by-election on 5 February 2000. Kaiser left the Labor Party on 10 January 2001 as a consequence of the Shepherdson Inquiry's investigation of his role in an electoral rorting scandal. He served out his term as an independent and did not contest the 2001 election.\n The member for Capalaba, Jim Elder, was elected as a Labor member and served as Deputy Premier under Peter Beattie, but left the party on 30 November 2000 following revelations from the Shepherdson Inquiry about his alleged behaviour. He served out the final months of his term as an independent and did not contest the 2001 election.\n The member for Springwood, Grant Musgrove, was elected as a Labor member, but was forced to leave the party on 4 December 2000. He also served out the remainder of his term as an independent and did not contest the 2001 election.\n\nSee also\n1998 Queensland state election\nBeattie Ministry (Labor) 1998–2007\n\nReferences\n\nMembers of Queensland parliaments by term\n21st-century Australian politicians\n20th-century Australian politicians",
"The Break and Repair Method is the side project of Matchbox Twenty drummer and rhythm guitarist Paul Doucette. Doucette put the band together when Matchbox Twenty was on hiatus, and when all the band's members were unsure whether their band would reunite. He has said he started The Break and Repair Method as an \"experiment\" to find out what he sounds like out on his own, as opposed to performing in a band where he was not a songwriter, as he did with Matchbox Twenty. Their debut album Milk the Bee was released on September 16, 2008. The group toured with Matt Nathanson in support of the album.\n\nReferences\n\nExternal links \n The Break and Repair Method on Myspace\n The Break and Repair Method on Allmusic\n\nAmerican rock music groups"
] |
[
"Daniel Boone",
"Youth",
"Where was Daniel Born?",
"The Boone family belonged to the Religious Society of Friends, called \"Quakers\", and were persecuted in England",
"When did he leave England?",
"Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter)",
"Where did he emigrate to?",
"Pennsylvania in 1713, to join William Penn's colony of dissenters.",
"Did Boone go to school?",
"Daniel Boone spent his early years on what was then the edge of the frontier.",
"Did Daniel get in trouble as a youth?",
"In Boone's youth, his family became a source of controversy in the local Quaker community",
"What was the controversy?",
"two of the oldest children married outside the endogamous community,",
"Who did the oldest children marry?",
"their eldest child, Sarah, married John Willcockson, a \"worldling\" (non-Quaker).",
"Did Daniel have a job in his youth?",
"Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape.",
"When did he set out on his own?",
"I don't know."
] |
C_772cc11b9fe54084b4f80a51b869fc06_1
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Did he have any major friendships when he was young?
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Did Daniel Boone have any major friendships when he was young?
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Daniel Boone
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Daniel Boone was of English and Welsh ancestry. Because the Gregorian calendar was adopted during his lifetime, Boone's birth date is sometimes given as November 2, 1734 (the "New Style" date), although Boone used the October date. The Boone family belonged to the Religious Society of Friends, called "Quakers", and were persecuted in England for their dissenting beliefs. Daniel's father, Squire (his first name, not a title) Boone (1696-1765) emigrated from the small town of Bradninch, Devon (near Exeter) to Pennsylvania in 1713, to join William Penn's colony of dissenters. Squire Boone's parents, George Boone III and Mary Maugridge, followed their son to Pennsylvania in 1717, and in 1720 built a log cabin at Boonecroft. In 1720, Squire Boone, who worked primarily as a weaver and a blacksmith, married Sarah Morgan (1700-77). Sarah's family were Quakers from Wales, and had settled in 1708 in the area which became Towamencin Township of Montgomery County. In 1731, the Boones moved to Exeter Township in the Oley Valley of Berks County, near the modern city of Reading. There they built a log cabin, partially preserved today as the Daniel Boone Homestead. Daniel Boone was born there, November 2, 1734, the sixth of eleven children. The Daniel Boone Homestead is just four miles from the Mordecai Lincoln House, making the Squire Boone family neighbors of Mordecai Lincoln, the great, great grandfather of future President Abraham Lincoln. Mordecai's son, also named Abraham, married Ann Boone, a first cousin of Daniel. Daniel Boone spent his early years on what was then the edge of the frontier. Several Lenape Indian villages were nearby. The pacifist Pennsylvania Quakers had good relations with the Native Americans, but the steady growth of the white population compelled many Indians to move further west. Boone was given his first rifle at the age of 12. He learned to hunt from both local settlers and the Lenape. Folk tales have often emphasized Boone's skills as a hunter. In one story, the young Boone was hunting in the woods with some other boys, when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The validity of this claim is contested, but the story was told so often that it became part of his popular image. In Boone's youth, his family became a source of controversy in the local Quaker community when two of the oldest children married outside the endogamous community, in present-day Lower Gwynedd Township, Pennsylvania. In 1742, Boone's parents were compelled to publicly apologize after their eldest child, Sarah, married John Willcockson, a "worldling" (non-Quaker). Because the young couple had "kept company", they were considered "married without benefit of clergy". When the Boones' oldest son Israel married a "worldling" in 1747, Squire Boone stood by him. Both men were expelled from the Quakers; Boone's wife continued to attend monthly meetings with their younger children. CANNOTANSWER
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CANNOTANSWER
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Daniel Boone (September 26, 1820) was an American pioneer and frontiersman whose exploits made him one of the first folk heroes of the United States. Boone became famous for his exploration and settlement of what is now Kentucky, which was then beyond the western borders of the Thirteen Colonies. Despite resistance from American Indians, for whom Kentucky was a traditional hunting ground, in 1775 Boone blazed the Wilderness Road through the Cumberland Gap and into Kentucky. There he founded Boonesborough, one of the first English-speaking settlements west of the Appalachian Mountains. By the end of the 18th century, more than 200,000 people had entered Kentucky by following the route marked by Boone.
Boone served as a militia officer during the Revolutionary War (1775–1783), which, in Kentucky, was fought primarily between American settlers and British-allied American Indians. Boone was captured by Shawnees in 1778 and adopted into the tribe, but he escaped and continued to help defend the Kentucky settlements. He was elected to the first of his three terms in the Virginia General Assembly during the war, and fought in the Battle of Blue Licks in 1782, one of the last battles of the American Revolution. Boone worked as a surveyor and merchant after the war, but he went deep into debt as a Kentucky land speculator. Frustrated with legal problems resulting from his land claims, in 1799 Boone resettled in Missouri, where he spent most of the last two decades of his life.
Boone remains an iconic, if imperfectly remembered, figure in American history. He was a legend in his own lifetime, especially after an account of his adventures was published in 1784, making him famous in America and Europe. After his death, Boone became the subject of many heroic tall tales and works of fiction. His adventures—real and legendary—helped create the archetypal frontier hero of American folklore. In American popular culture, Boone is remembered as one of the foremost early frontiersmen, even though mythology often overshadows the historical details of his life.
Early life
Boone was born on October 22, 1734 ("New Style" November 2), the sixth of eleven children in a family of Quakers. His father, Squire Boone (1696–1765), had emigrated to colonial Pennsylvania from the small town of Bradninch, England, in 1713. Squire, a weaver and blacksmith, married Sarah Morgan (1700–1777), whose family were Quakers from Wales. In 1731, the Boones built a one-room log cabin in the Oley Valley in what is now Berks County, Pennsylvania, near present Reading, where Daniel was born.
Boone spent his early years on the Pennsylvania frontier, often interacting with American Indians. Boone learned to hunt from local settlers and Indians; by the age of fifteen, he had a reputation as one of the region’s best hunters. Many stories about Boone emphasize his hunting skills. In one tale, the young Boone was hunting in the woods with some other boys when the howl of a panther scattered all but Boone. He calmly cocked his rifle and shot the predator through the heart just as it leaped at him. The story may be a folktale, one of many that became part of Boone’s popular image.
In Boone's youth, his family became a source of controversy in the local Quaker community. In 1742, Boone's parents were compelled to publicly apologize after their eldest child Sarah married a "worldling", or non-Quaker, while she was visibly pregnant. When Boone's oldest brother Israel also married a "worldling" in 1747, Squire Boone stood by his son and was therefore expelled from the Quakers, although his wife continued to attend monthly meetings with her children. Perhaps as a result of this controversy, in 1750 Squire sold his land and moved the family to North Carolina. Daniel Boone did not attend church again, although he always considered himself a Christian and had all of his children baptized. The Boones eventually settled on the Yadkin River, in what is now Davie County, North Carolina, about two miles (3 km) west of Mocksville.
Boone received little formal education, since he preferred to spend his time hunting, apparently with his parents’ blessing. According to a family tradition, when a schoolteacher expressed concern over Boone's education, Boone's father said, "Let the girls do the spelling and Dan will do the shooting." Boone was tutored by family members, though his spelling remained unorthodox. Historian John Mack Faragher cautions that the folk image of Boone as semiliterate is misleading, arguing that Boone "acquired a level of literacy that was the equal of most men of his times." Boone regularly took reading material with him on his hunting expeditions—the Bible and Gulliver's Travels were favorites. He was often the only literate person in groups of frontiersmen, and would sometimes entertain his hunting companions by reading to them around the campfire.
Hunter, husband, and soldier
When the French and Indian War (1754–1763) broke out between the French, British, and their respective Indian allies, Boone joined a North Carolina militia company as a teamster and blacksmith. In 1755, his unit accompanied General Edward Braddock’s attempt to drive the French out of the Ohio Country, which ended in disaster at the Battle of the Monongahela. Boone, in the rear with the wagons, took no part in the battle, and fled with the retreating soldiers.
Boone returned home after the defeat, and on August 14, 1756, he married Rebecca Bryan, a neighbor in the Yadkin Valley. The couple initially lived in a cabin on his father's farm, and would eventually have ten children, in addition to raising eight children of deceased relatives.
In 1758, conflict erupted between British colonists and the Cherokees, their former allies in the French and Indian War. After the Yadkin Valley was raided by Cherokees, the Boones and many other families fled north to Culpeper County, Virginia. Boone saw action as a member of the North Carolina militia during this "Cherokee Uprising," periodically serving under Captain Hugh Waddell on the North Carolina frontier until 1760.
Boone supported his growing family in these years as a market hunter and trapper, collecting pelts for the fur trade. Almost every autumn, despite the unrest on the frontier, Boone would go on "long hunts", extended expeditions into the wilderness lasting weeks or months. Boone went alone or with a small group of men, accumulating hundreds of deer skins in the autumn, and trapping beaver and otter over the winter. When the long hunters returned in the spring, they sold their take to commercial fur traders. On their journeys, frontiersmen often carved messages on trees or wrote their names on cave walls, and Boone's name or initials have been found in many places. A tree in present Washington County, Tennessee, reads "D. Boon Cilled a. Bar on tree in the year 1760". A similar carving, preserved in the museum of the Filson Historical Society in Louisville, Kentucky, reads "D. Boon Kilt a Bar, 1803." The inscriptions may be genuine, or part of a long tradition of phony Boone relics.
According to a popular story, Boone returned home after a long absence to find Rebecca had given birth to a daughter. Rebecca confessed she had thought Daniel was dead, and that Boone’s brother had fathered the child. Boone did not blame Rebecca, and raised the girl as his own child. Boone's early biographers knew the story but did not publish it. Modern biographers regard the tale as possibly folklore, since the identity of the brother and the daughter vary in different versions of the tale.
In the mid-1760s, Boone began to look for a new place to settle. The population was growing in the Yadkin Valley, which decreased the amount of game available for hunting. Boone had difficulty making ends meet; he was often taken to court for nonpayment of debts. He sold what land he owned to pay off creditors. After his father's death in 1765, Boone traveled with a group of men to Florida, which had become British territory after the end of the war, to look into the possibility of settling there. According to a family story, Boone purchased land in Pensacola, but Rebecca refused to move so far away from friends and family. The Boones instead moved to a more remote area of the Yadkin Valley, and Boone began to hunt westward into the Blue Ridge Mountains.
Into Kentucky
Years before entering Kentucky, Boone had heard about the region’s fertile land and abundant game. In 1767, Boone and his brother Squire first crossed into what would become the state of Kentucky, but they failed to reach the rich hunting grounds. In May 1769, Boone set out again with a party of five others, beginning a two-year hunting expedition in which Boone thoroughly explored Kentucky. His first sighting of the Bluegrass region from atop Pilot Knob became "an icon of American history," and was the frequent subject of paintings.
On December 22, 1769, Boone and a fellow hunter were captured by a party of Shawnees, who confiscated all of their skins and told them to leave and never return. The Shawnees had not signed the 1768 Treaty of Fort Stanwix, in which the Iroquois had ceded their claim to Kentucky to the British. The Shawnees regarded Kentucky as their hunting ground; they considered American hunters there to be poachers. Boone, undeterred, continued hunting and exploring in Kentucky. On one occasion, he shot a man to avoid capture, which historian John Mack Faragher says "was one of the few Indians that Boone acknowledged killing." Boone returned to North Carolina in 1771, but came back to hunt in Kentucky in the autumn of 1772.
In 1773, Boone packed up his family and, with his brother, Squire, and a group of about 50 others, began the first attempt by British colonists to establish a settlement. Boone was still an obscure figure at the time; the most prominent member of the expedition was William Russell, a well-known Virginian and future brother-in-law of Patrick Henry. Another member of this expedition was Boone's friend and fellow long-hunter, Michael Stoner.
Included in this group were an unknown number of enslaved Blacks, including Charles and Adam. On October 9, Boone's oldest son, James, and several whites as well as Charles and Adam left the main party to seek provisions in a nearby settlement. They were attacked by a band of Delawares, Shawnees, and Cherokees. Following the Fort Stanwix treaty, American Indians in the region had been debating what do to about the influx of settlers. This group had decided, in the words of Faragher, "to send a message of their opposition to settlement". James Boone and William Russell's son, Henry, were tortured and killed. Charles was captured. Adam witnessed the horror concealed in riverbank driftwood. After wandering In the woods for 11 days, Adam located the group and informed Boone of the circumstances of their deaths. Charles's body was found by the pioneers 40 miles from the abduction site, dead from a blow to his head. The brutality of the killings sent shockwaves along the frontier, and Boone's party abandoned their expedition.
The attack was one of the first events in what became known as Dunmore's War, a struggle between Virginia and American Indians for control of what is now West Virginia and Kentucky. In the summer of 1774, Boone traveled with a companion to Kentucky to notify surveyors there about the outbreak of war. They journeyed more than in two months to warn those who had not already fled the region. Upon his return to Virginia, Boone helped defend colonial settlements along the Clinch River, earning a promotion to captain in the militia, as well as acclaim from fellow citizens. After the brief war, which ended soon after Virginia's victory in the Battle of Point Pleasant in October 1774, the Shawnees relinquished their claims to Kentucky.
Following Dunmore's War, Richard Henderson, a prominent judge from North Carolina, hired Boone to help establish a colony to be called Transylvania. Boone traveled to several Cherokee towns and invited them to a meeting, held at Sycamore Shoals in March 1775, where Henderson purchased the Cherokee claim to Kentucky.
Boone then blazed "Boone's Trace," later known as the Wilderness Road, through the Cumberland Gap and into central Kentucky. Sam, an enslaved black “body servant,” and other enslaved laborers were among this group of settlers. When this group camped near the present day Richmond, KY, Indians attacked, killing Sam and his enslaver. After driving off the attackers, the party buried the two men side by side.
He founded Boonesborough along the Kentucky River; other settlements, notably Harrodsburg, were also established at this time. Despite occasional Indian attacks, Boone brought his family and other settlers to Boonesborough on September 8, 1775.
American Revolution
Violence in Kentucky increased with the outbreak of the American Revolutionary War (1775–1783). American Indians who were unhappy about the loss of Kentucky in treaties saw the war as a chance to drive out the colonists. Isolated settlers and hunters became the frequent target of attacks, convincing many to abandon Kentucky. By late spring of 1776, Boone and his family were among the fewer than 200 colonists who remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station.
On July 14, 1776, Boone's daughter Jemima and two other girls were captured outside Boonesborough by an Indian war party, who carried the girls north toward the Shawnee towns in the Ohio country. Boone and a group of men from Boonesborough followed in pursuit, finally catching up with them two days later. Boone and his men ambushed the Indians, rescuing the girls and driving off their captors. The incident became the most celebrated event of Boone's life. James Fenimore Cooper created a fictionalized version of the episode in his classic novel The Last of the Mohicans (1826).
In 1777, Henry Hamilton, British Lieutenant Governor of Canada, began to recruit American Indian war parties to raid the Kentucky settlements. That same year in March, the newly formed militia of Kentucky County, VA mustered in Boonesborough, whose population included ten to 15 enslaved people. On April 24, 1778, the British-allied Shawnees led by Chief Blackfish mounted the siege of Boonesborough. Armed enslaved men fought alongside their enslavers at the fort's walls. After going beyond the fort walls to engage the attackers, London, one of the enslaved, was killed.
Boone was shot in the ankle while outside the fort but, amid a flurry of bullets, he was carried back inside by Simon Kenton, a recent arrival at Boonesborough. Kenton became Boone's close friend, as well as a legendary frontiersman in his own right.
Capture and court-martial
While Boone recovered, Shawnees kept up their attacks outside Boonesborough, killing cattle and destroying crops. With food running low, the settlers needed salt to preserve what meat they had, so in January 1778, Boone led a party of 30 men to the salt springs on the Licking River. On February 7, when Boone was hunting meat for the expedition, he was captured by Blackfish's warriors. Because Boone's party was greatly outnumbered, Boone returned to camp the next day with Blackfish and persuaded his men to surrender rather than put up a fight.
Blackfish intended to move on to Boonesborough and capture it, but Boone argued the women and children would not survive a winter trek as prisoners back to the Shawnee villages. Instead, Boone promised that Boonesborough would surrender willingly the following spring. Boone did not have an opportunity to tell his men that he was bluffing to prevent an immediate attack on Boonesborough. Boone pursued this strategy so convincingly some of his men concluded he had switched sides, an impression that led to his court-martial (see below).
Many of the Shawnees wanted to execute the prisoners in retaliation for the recent murder of Shawnee Chief Cornstalk by Virginia militiamen. Because Shawnee chiefs led by seeking consensus, Blackfish held a council. After an impassioned speech by Boone, the warriors voted to spare the prisoners. Although Boone had saved his men, Blackfish pointed out that Boone had not included himself in the agreement, so Boone was forced to run the gauntlet through the warriors, which he survived with minor injuries.
Boone and his men were taken to Blackfish's town of Chillicothe. As was their custom, the Shawnees adopted some of the prisoners to replace fallen warriors. Boone was adopted into a Shawnee family at Chillicothe, perhaps into Blackfish's family, and given the name Sheltowee (Big Turtle). In March 1778, the Shawnees took the unadopted prisoners to Governor Hamilton in Detroit. Blackfish brought Boone along, though he refused Hamilton's offers to release Boone to the British. Hamilton gave Boone gifts, attempting to win his loyalty, while Boone continued to pretend that he intended to surrender Boonesborough. Boone returned with Blackfish to Chillicothe. On June 16, 1778, when he learned Blackfish was about to return to Boonesborough with a large force, Boone eluded his captors and raced home, covering the to Boonesborough in five days on horseback and, after his horse gave out, on foot. Biographer Robert Morgan calls Boone's escape and return "one of the great legends of frontier history."
Upon Boone's return to Boonesborough, some of the men expressed doubts about Boone's loyalty, since he had apparently lived happily among the Shawnees for months. Boone responded by leading a preemptive raid against the Shawnees across the Ohio River, and then by helping to successfully defend Boonesborough against a 10-day siege led by Blackfish, which began on September 7, 1778. After the siege, Captain Benjamin Logan and Colonel Richard Callaway—both of whom had nephews who were still captives surrendered by Boone—brought charges against Boone for his recent activities. In the court-martial that followed, Boone was found "not guilty," and was even promoted after the court heard his testimony. Despite this vindication, Boone was humiliated by the court-martial, and he rarely spoke of it.
Final years of the Revolution
After the trial, Boone returned to North Carolina to bring his family back to Kentucky. In the autumn of 1779, a large party of emigrants came with him, including the family of Captain Abraham Lincoln, grandfather of the future president. Rather than remain in Boonesborough, Boone founded the nearby settlement of Boone's Station. He began earning money by locating good land for other settlers. Transylvania land claims had been invalidated after Virginia created Kentucky County, so settlers needed to file new land claims with Virginia. In 1780, Boone collected about $20,000 in cash from various settlers and traveled to Williamsburg to purchase their land warrants. While he was sleeping in a tavern during the trip, the cash was stolen from his room. Some of the settlers forgave Boone the loss; others insisted he repay the stolen money, which took him several years to do.
In contrast to the later folk image of Boone as a backwoodsman who had little affinity for "civilized" society, Boone was a leading citizen of Kentucky at this time. When Kentucky was divided into three Virginia counties in November 1780, Boone was promoted to lieutenant colonel in the Fayette County militia. In April 1781, he was elected as a representative to the Virginia General Assembly, which was held in Richmond. In 1782, he was elected sheriff of Fayette County.
Meanwhile, the American Revolutionary War continued. Boone joined General George Rogers Clark's invasion of the Ohio country in 1780, fighting in the Battle of Piqua against the Shawnee on August 7. On the way home from the campaign, Boone was hunting with his brother Ned when Shawnees shot and killed Ned, who resembled Daniel. The Shawnees beheaded Ned, believing him to be Daniel, and took the head as evidence that Daniel Boone had finally been slain.
In 1781, Boone traveled to Richmond to take his seat in the legislature, but British dragoons under Banastre Tarleton captured Boone and several other legislators near Charlottesville. The British released Boone on parole several days later. During Boone's term, Cornwallis surrendered at Yorktown in October 1781, but the fighting continued in Kentucky. Boone returned to Kentucky and in August 1782 fought in the Battle of Blue Licks, a disastrous defeat for the Kentuckians in which Boone's son Israel was killed. In November 1782, Boone took part in another Clark-led expedition into Ohio, the last major campaign of the war.
Businessman and politician
After the Revolutionary War ended, Boone resettled in Limestone (later renamed Maysville, Kentucky), then a booming Ohio River port. He kept a tavern and worked as a surveyor, horse trader, and land speculator. In 1784, on Boone’s 50th birthday, frontier historian John Filson published The Discovery, Settlement and Present State of Kentucke. The popular book included a chronicle of Boone's adventures, which made Boone a celebrity.
As settlers poured into Kentucky, the border war with American Indians north of the Ohio River resumed. In September 1786, Boone took part in a military expedition into the Ohio Country led by Benjamin Logan. Returning to Limestone, Boone housed and fed Shawnees who were captured during the raid, and helped to negotiate a truce and prisoner exchange. Although the war would not end until the American victory at the Battle of Fallen Timbers eight years later, the 1786 expedition was the last time Boone saw military action.
Boone was initially prosperous in Limestone, owning seven slaves, a relatively large number for Kentucky at the time. In 1786, he purchased a Pennsylvania enslaved woman, age of about 20, for “Ninety poundes Current Lawfull (sic) money.”. A leader, he served as militia colonel, sheriff, and county coroner. In 1787, he was again elected to the Virginia state assembly, this time from Bourbon County. He began to have financial troubles after engaging in land speculation, buying and selling claims to tens of thousands of acres. These ventures ultimately failed because of the chaotic nature of land speculation in frontier Kentucky and Boone’s poor business instincts. Frustrated with the legal hassles that went with land speculation, in 1789 Boone moved upriver to Point Pleasant, Virginia (now West Virginia). There he operated a trading post and occasionally worked as a surveyor's assistant. That same year, when Virginia created Kanawha County, Boone became the lieutenant colonel of the county militia. In 1791, he was elected to the Virginia legislature for the third time. He contracted to provide supplies for the Kanawha militia, but his debts prevented him from buying goods on credit, so he closed his store and returned to hunting and trapping, though he was often hampered by rheumatism.
In 1795, Boone and his wife moved back to Kentucky, on land owned by their son Daniel Morgan Boone in what became Nicholas County. The next year, Boone applied to Isaac Shelby, the first governor of the new state of Kentucky, for a contract to widen the Wilderness Road into a wagon route, but the contract was awarded to someone else. Meanwhile, lawsuits over conflicting land claims continued to make their way through the Kentucky courts. Boone's remaining land claims were sold off to pay legal fees and taxes, but he no longer paid attention to the process. In 1798, a warrant was issued for Boone's arrest after he ignored a summons to testify in a court case, although the sheriff never found him. That same year, the Kentucky assembly named Boone County in his honor.
Into Missouri
Having endured legal and financial setbacks, Boone sought to make a fresh start by leaving the United States. In 1799, he moved his extended family to what is now St. Charles County, Missouri, but was then part of Spanish Louisiana. The Spanish, eager to promote settlement in the sparsely populated region, did not enforce the official requirement that all immigrants be Catholic. The Spanish governor appointed Boone "syndic" (judge and jury) and commandant (military leader) of the Femme Osage district. Anecdotes of Boone's tenure as syndic suggest he sought to render fair judgments rather than strictly observe the letter of the law.
Boone served as syndic and commandant until 1804, when Missouri became part of the United States following the Louisiana Purchase. He was appointed captain of the local militia. Because Boone's land grants from the Spanish government had been largely based on oral agreements, he again lost his land claims. In 1809, he petitioned Congress to restore his Spanish land claims, which was finally done in 1814. Boone sold most of this land to repay old Kentucky debts. When the War of 1812 came to Missouri, Boone's sons Daniel Morgan Boone and Nathan Boone took part, but by that time Boone was much too old for militia duty.
Although Boone reportedly vowed never to return to Kentucky after moving to Missouri, stories (possibly folk tales) were told of him making one last visit to Kentucky to pay off his creditors. American painter John James Audubon claimed to have gone hunting with Boone in Kentucky around 1810. Years later, Audubon painted a portrait of Boone, supposedly from memory, although skeptics noted the similarity of his painting to the well-known portraits by Chester Harding. Some historians believe Boone visited his brother Squire near Kentucky in 1810 and have accepted the veracity of Audubon's account.
Boone spent his final years in Missouri, often in the company of children and grandchildren. He continued to hunt and trap as much as his health and energy levels permitted, intruding upon the territory of the Osage tribe, who once captured him and confiscated his furs. In 1810, at the age of 76, he went with a group on a six-month hunt up the Missouri River, reportedly as far as the Yellowstone River, a round trip of more than 2,000 miles. He began one of his final trapping expeditions in 1815, in the company of a Shawnee and Derry Coburn, a slave who was frequently with Boone in his final years. They reached Fort Osage in 1816, where an officer wrote, "We have been honored by a visit from Col. Boone... He has taken part in all the wars of America, from Braddock's war to the present hour," but "he prefers the woods, where you see him in the dress of the roughest, poorest hunter."
Death and burial
Boone died on September 26, 1820, at his son Nathan Boone's home on Femme Osage Creek, Missouri. He was buried next to Rebecca, who had died on March 18, 1813. The graves, which were unmarked until the mid-1830s, were near Jemima (Boone) Callaway's home on Tuque Creek, about two miles (3 km) from present-day Marthasville, Missouri.
In 1845, the Boones' remains were disinterred and reburied in a new cemetery in Frankfort, Kentucky. Resentment in Missouri about the disinterment grew over the years, and a legend arose that Boone's remains never left Missouri. According to this story, Boone's tombstone in Missouri had been inadvertently placed over the wrong grave, but no one had corrected the error. Boone's Missouri relatives, displeased with the Kentuckians who came to exhume Boone, kept quiet about the mistake and allowed the Kentuckians to dig up the wrong remains. No contemporary evidence indicates this actually happened, but in 1983, a forensic anthropologist examined a crude plaster cast of Boone's skull made before the Kentucky reburial and announced it might be the skull of an African American. Black slaves were also buried at Tuque Creek, so it is possible that the wrong remains were mistakenly removed from the crowded graveyard. Both the Frankfort Cemetery in Kentucky and the Old Bryan Farm graveyard in Missouri claim to have Boone's remains.
Legacy
Daniel Boone remains an iconic figure in American history, although his status as an early American folk hero and later as a subject of fiction has tended to obscure the actual details of his life. He emerged as a legend in large part because of John Filson's "The Adventures of Colonel Daniel Boon", part of his book The Discovery, Settlement and present State of Kentucke. First published in 1784, Filson's book was primarily intended to popularize Kentucky to immigrants. It was translated into French and German, and made Boone famous in America and Europe. Based on interviews with Boone, Filson's book contained a mostly factual account of Boone's adventures from the exploration of Kentucky through the American Revolution, although many have doubted if the florid, philosophical dialogue attributed to Boone was authentic. Often reprinted, Filson's book established Boone as one of the first popular heroes of the United States.
Timothy Flint also interviewed Boone, and his Biographical Memoir of Daniel Boone, the First Settler of Kentucky (1833) became one of the best-selling biographies of the 19th century. Flint embellished Boone's adventures, doing for Boone what Parson Weems did for George Washington. In Flint's book, Boone fought with a bear, escaped from Indians by swinging on vines (as Tarzan would later do), and so on. Although Boone's family thought the book was absurd, Flint greatly influenced the popular conception of Boone, since these tall tales were recycled in countless dime novels and books aimed at young boys.
Symbol and stereotype
Thanks to Filson's book, Boone became a symbol of the "natural man" who lives a virtuous, uncomplicated existence in the wilderness. This was famously expressed in Lord Byron's epic poem Don Juan (1822), which devoted a number of stanzas to Boone, including this one:
Byron's poem celebrated Boone as someone who found happiness by turning his back on civilization. In a similar vein, many folk tales depicted Boone as a man who migrated to more remote areas whenever civilization crowded in on him. In a typical anecdote, when asked why he was moving to Missouri, Boone supposedly replied, "I want more elbow room!" Boone rejected this interpretation. "Nothing embitters my old age," he said late in life, like "the circulation of absurd stories that I retire as civilization advances."
Existing simultaneously with the image of Boone as a refugee from society was, paradoxically, the popular portrayal of him as civilization's trailblazer. Boone was celebrated as an agent of Manifest Destiny, a pathfinder who tamed the wilderness, paving the way for the extension of American civilization. In 1852, critic Henry Tuckerman dubbed Boone "the Columbus of the woods," comparing Boone's passage through the Cumberland Gap to Christopher Columbus's voyage to the New World. In popular mythology, Boone became the first to explore and settle Kentucky, opening the way for countless others to follow. In fact, other Americans had explored Kentucky before Boone, as debunkers in the 20th century often pointed out, but Boone came to symbolize them all, making him what historian Michael Lofaro called "the founding father of westward expansion."
In the 19th century, when Native Americans were being displaced from their lands and confined on reservations, Boone's image was often reshaped into the stereotype of the belligerent, Indian-hating frontiersman which was then popular. In John A. McClung's Sketches of Western Adventure (1832), for example, Boone was portrayed as longing for the "thrilling excitement of savage warfare." Boone was transformed in the popular imagination into someone who regarded Indians with contempt and had killed scores of the "savages." The real Boone disliked bloodshed. According to historian John Bakeless, there is no record that Boone ever scalped Indians, unlike other frontiersmen of the era. Boone once told his son Nathan that he was certain of having killed only one Indian, during the battle at Blue Licks, although on another occasion he said, "I never killed but three." He expressed regret over the killings, saying the Indians "have always been kinder to me than the whites." Even though Boone had lost two sons and a brother in wars with Indians, he respected Indians and was respected by them. In Missouri, Boone went hunting with the Shawnees who had captured and adopted him decades earlier. Some 19th-century writers regarded Boone's sympathy for Indians as a character flaw and altered his words to conform to contemporary attitudes.
The character John Boone in Kim Stanley Robinson's Mars trilogy is inspired by Daniel Boone. In the story, John Boone is an American astronaut, the first human to walk on Mars in the year 2020. John Boone is one of the "First Hundred" colonists sent to permanently colonize Mars. His accomplishments and natural charm yield him an informal leadership role. After being assassinated, his larger-than-life persona plays a legendary role in the culture of colonized Mars.
Commemoration and portrayals
Many places in the United States are named for Boone, including the Daniel Boone National Forest in Kentucky and the Sheltowee Trace Trail in Tennessee. His name has long been synonymous with the American outdoors. The Boone and Crockett Club is a conservationist organization founded by Theodore Roosevelt in 1887, and the Sons of Daniel Boone was the precursor of the Boy Scouts of America. A half-dollar coin was minted in 1934 to mark the bicentennial of Boone’s birth; a commemorative stamp was issued in 1968.
Boone's adventures, real and mythical, formed the basis of the archetypal hero of the American West, popular in 19th-century novels and 20th-century films. The main character of James Fenimore Cooper's Leatherstocking Tales, the first of which was published in 1823, bore striking similarities to Boone; even his name, Nathaniel Bumppo, echoed Daniel Boone's name. As mentioned above, The Last of the Mohicans (1826), Cooper's second Leatherstocking novel, featured a fictionalized version of Boone's rescue of his daughter. After Cooper, other writers developed the Western hero, an iconic figure which began as a variation of Daniel Boone.
In the 20th century, Boone was featured in numerous comic strips, radio programs, novels, and films, such as the 1936 film Daniel Boone. Boone was the subject of a TV series that ran from 1964 to 1970. In the theme song for the series, Boone was described as a "big man" in a "coonskin cap," and the "rippin'est, roarin'est, fightin'est man the frontier ever knew!" This did not describe the real Boone, who was not a big man and did not wear a coonskin cap, which he thought uncouth and uncomfortable. Boone was portrayed this way in the TV series because Fess Parker, the tall actor who played him, was essentially reprising his role as Davy Crockett from an earlier TV series. That Boone could be portrayed the same way as Crockett, another American frontiersman with a very different personality, was another example of how Boone's image was reshaped to suit popular tastes. He was also the subject matter for the song sung by Ed Ames called "Daniel Boone". It was released in 1966.
In Blood and Treasure, released in 2021, authors Tom Clavin and Bob Drury painted a much broader historical portrait of Boone than has been commonly described.
The Taking of Jemima Boone by Matthew Pearl, published in 2021, is an account of the abduction of the daughter of Daniel Boone and, after her rescue by Boone, then shifts to the conflicts between Boone, his political rival Richard Callaway, and Shawnee leader Blackfish, with resulting impacts to the Western theater of the American Revolutionary War.
See also
Edward Morgan Log House
Daniel Boone Homestead
Daniel Boone School
Thomas S. Hinde, close friend of the Boone Family, neighbor in Kentucky, and interviewer of Boone
Boone's Cave Park
Daniel Boone National Forest
Boone Trail, between Virginia Beach, Virginia and San Francisco, California
References
Notes
Citations
Sources
The definitive Boone biography of its era, the first to make full use of the immense material collected by Lyman Draper.
Belue's notes provide a modern scholarly perspective to Draper's unfinished 19th century biography.
Guide to historical sites associated with Boone.
Further reading
Filson, John. The Discovery, Settlement and present State of Kentucke, including the "Appendix" life of Boone
Hammon, Neal O., ed. My Father, Daniel Boone: The Draper Interviews with Nathan Boone. Lexington: University Press of Kentucky, 1999. .
Reid, Darren R., ed. Daniel Boone and Others on the Kentucky Frontier: Autobiographies and Narratives, 1769–1795. Jefferson: McFarland and Company, 2009. .
Personal papers of Daniel Boone at the Wisconsin Historical Society searchable 32-volume collection of Boone manuscripts and correspondence, part of the Lyman Draper collection
1734 births
1820 deaths
American explorers
American folklore
American hunters
American people of English descent
American people of Welsh descent
American slave owners
American surveyors
Kentucky pioneers
Appalachian people
Boone County, Missouri
Daniel
Burials at Frankfort Cemetery
Captives of Native Americans
Hall of Fame for Great Americans inductees
Kentucky militiamen in the American Revolution
Members of the Virginia House of Delegates
Mountain men
People of colonial Pennsylvania
People from Berks County, Pennsylvania
People from Kentucky
People from St. Charles County, Missouri
People of Pennsylvania in the French and Indian War
People of Kentucky in the American Revolution
People who were court-martialed
Tall tales
| false |
[
"Male Romantic Friendship, in the nineteenth century, can be understood as intimate relations between young men that were similar to romances. These relations were based on expressiveness and trust. The parts involved shared their insecurities, doubts, and hopes. These friendships provided the feeling of security and affection that men needed after leaving boyhood. \n\nThe romantic aspect of these friendships is the result of the way that men interacted with each other. They used overly romantic language in their diaries and letters when talking about their friends, and they described physical contact, like kisses. These aspects of romantic friendships lead some readers to believe that these friendships had some sexual component; but, it is impossible to prove or disprove these affirmations by only reading the diaries and correspondences.\n\nDevelopment \nThese intimacy bonds were usually formed in the transition period between boyhood and manhood During this period, middle-class men left their homes to go to colleges and the military. Away from their families and friends, young men had to form a deeper affinity with colleagues to help them navigate this new phase of their lives. Young men search for friends who had similar interests and who could offer emotional support when needed. They freely declared their affection to one another, especially by using physical contact. Even though these friendships started at colleges, some of them continue after graduation.\n\nComparison of female and male romantic friendships \n\nAuthors claim that this kind of friendship is similar to the same-sex friendship between women described in The Female World of Love and Ritual. For instance, Rotundo argues that male romantic friendship, like same-sex female friendship, was socially accepted, compatible with heterosexual marriage, and valued. On the other hand, men's and women's friendships differ in duration. Smith-Rosenberg says that female romantic friendships were generally formed in adolescence and continue during the rest of their life. Nevertheless, male romantic friendship usually lasted only during youthhood.\n\nSexual activity \nThe intense manner that young men addressed each other in their letters makes some readers question if sexual activity was present in Romantic Friendships. In these correspondences, men talked about embracing each other, sleeping together, and the happiness generated by receiving a letter from their friends. These passages may suggest that these relations were more than friendships. Nevertheless, behaviors of that era explain some of the actions described that seemed peculiar for present-day people. For instance, in the 1800s, it was common for middle-class men to share a bed, and physical contact in these circumstances was inevitable. Moreover, the lack of heating made body contact a source of warmth that could be considered a pleasure. So, the fact that two men slept together did not necessarily mean that they had sexual relations.\n\nReferences \n\nRomantic and sexual partners",
"Young & Restless is the second album by American singer Kristinia DeBarge that was released on May 3, 2013 through Manhattan Records exclusively to Japan. Two singles have been released so far. \"Cry Wolf\", the first single was released on September 27, 2012 independently and did not chart on any major chart. \"Ignite\", its second single was released on April 3, 2013 exclusively through Japan iTunes and has so far peaked at number six on the iTunes Japan R&B chart.\n\nTrack listing\n\nRelease history\n\nReferences\n\nKristinia DeBarge albums\n2013 albums\nManhattan Records albums"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)"
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
What was Hail Destroyer?
| 1 |
What was Hail Destroyer?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
The band released their second studio album called Hail Destroyer on April 22, 2008.
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| true |
[
"Hail Destroyer is Cancer Bats' second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US.\n\nIn 2009, Hail Destroyer was reissued in some regions with four bonus tracks (one new song and three cover songs) in addition to a DVD featuring live footage of the Cancer Bats. The bonus tracks were also released separately as an extended play dubbed the Tour EP on June 30, 2009. Videos were filmed for \"Hail Destroyer\", \"Deathsmarch\" and \"Lucifer's Rocking Chair\".\n\nThe title track was featured briefly in the 2009 sci-fi horror film Splice.\n\nTrack listing\n\nPersonnel\nCancer Bats\nLiam Cormier – lead vocals\nScott Middleton – lead & rhythm guitars, bass, backing vocals\nMike Peters – drums, percussion, backing vocals\n\nAdditional musicians\nWade MacNeil – guest vocals on \"Deathsmarch\"\nBen Kowalewicz – guest vocals on \"Smiling Politely\"\nTim McIlrath – guest vocals on \"Harem of Scorpions\"\nGang vocals by Jaye Schwarzer, Mike Peters, Scott Middleton, Billy Hamilton, Juice, Travis Porter, xHambonex, Adam Sylvester\n\nProduction\nProduced and engineered by Eric Ratz and Kenny Luong\nMixed by Eric Ratz, Greg Below and Kenny Luong\nMastered by Scott Lake\nDesign and art direction by Doublenaut\nIllustrations by Alex Snelgrove\n\nAccolades\n\n \"Hail Destroyer\" was placed at #3 in Kerrang! magazine's 2008 \"End of the Year\" list.\n\nTrivia\n The song \"Zed's Dead, Baby\" is in reference to a line spoken by Bruce Willis' character Butch, in the film Pulp Fiction.\n\nReviews\n Cancer Bats - Hail Destroyer - CD Review\n\nReferences\n\nExternal links\n\"Hail Destroyer\" album lyrics\n\n2008 albums\nHassle Records albums\nCancer Bats albums\nDistort Entertainment albums",
"Hail, Hail, the Gang's All Here is an American popular song first published in 1917. The lyrics were written by D. A. Esrom (pseudonym of Theodora Morse) to a tune originally written by Arthur Sullivan for the 1879 comic opera The Pirates of Penzance. The tune occurs in Act II as part of \"With Cat-Like Tread\" and echoes the Anvil Chorus from Giuseppe Verdi's opera Il Trovatore.\n\nHail, hail, the gang's all here\nWhat the heck do we care\nWhat the heck do we care\nHail, hail, the gang's all here\nWhat the heck do we care now\n\n(Original lyrics by W. S. Gilbert)\nCome, friends, who plough the sea\nTruce to navigation\nTake another station\nLet's vary piracy\nWith a little burglary\n\nIt appears that the lyric \"Hail, hail, the gang's all here\" had unofficially been added to Sullivan's melody many years before 1917. It was referenced in American newspapers as a familiar song as early as 1898, sung at political and other gatherings. A Philadelphia Inquirer news item from April 1, 1898, for example, stated that during a raucous meeting, members of the Philadelphia Common Council loudly sang, \"Hail, hail, the gang's all here, what the h--- do we care! What the h--- do we care!\" Likewise, a Delaware state legislature session in March 1901 was disrupted when Democratic members loudly sang the song. The title line of the song is also quoted in the closing measures of the 1915 song \"Alabama Jubilee\". Also in 1915, the Ohio State University fight song Across the Field incorporated the title phrase as the penultimate lyric.\n\nThe song is referred to in Kurt Vonnegut's book, Slaughterhouse-Five: \"The door was flung open from inside. Light leaped out through the door, escaped from prison at 186,000 miles per second. Out marched fifty middle-aged Englishmen. They were singing \"Hail, Hail, the Gang's All Here\" from the Pirates of Penzance.\"\n\nBy the 1950s, the chorus of the song (with revised lyrics) had become popular in Irish and Scottish communities as being part of \"The Celtic Song\", sung by the fans of Glasgow Celtic in Scotland and later other teams. Glen Daly recorded an \"official version\" of \"The Celtic Song\" that is commonly played at Celtic Park prior to matches.\n\nExternal resources\nSheet music with both verse and chorus\nLyrics with MIDI on nih.gov\n\nReferences \n\nCompositions by Arthur Sullivan\n1917 songs\nSongs with lyrics by Theodora Morse"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008."
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
How did this album do?
| 2 |
How did Hail Destroyer do?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| true |
[
"\"This Is How We Do It\" is a 1995 song by Montell Jordan.\n\nThis Is How We Do It may also refer to:\n\n This Is How We Do It (album), by Montell Jordan\n \"This Is How We Do It\" (Grey's Anatomy), a 2011 episode\n\nSee also\n \"This Is How We Do\", a 2014 song by Katy Perry",
"\"How Do I Get Close\" is a song released by the British rock group, the Kinks. Released on the band's critically panned LP, UK Jive, the song was written by the band's main songwriter, Ray Davies.\n\nRelease and reception\n\"How Do I Get Close\" was first released on the Kinks' album UK Jive. UK Jive failed to make an impression on fans and critics alike, as the album failed to chart in the UK and only reached No. 122 in America. However, despite the failure of the album and the lead UK single, \"Down All the Days (Till 1992)\", \"How Do I Get Close\" was released as the second British single from the album, backed with \"Down All the Days (Till 1992)\". The single failed to chart. The single was also released in America (backed with \"War is Over\"), where, although it did not chart on the Billboard Hot 100, it hit No. 21 on the Mainstream Rock Tracks chart, the highest on that chart since \"Working At The Factory\" in 1986. \"How Do I Get Close\" also appeared on the compilation album Lost & Found (1986-1989).\n\nStephen Thomas Erlewine cited \"How Do I Get Close\" as a highlight from both UK Jive and Lost & Found (1986-1989).\n\nReferences\n\nThe Kinks songs\n1990 singles\nSongs written by Ray Davies\nSong recordings produced by Ray Davies\n1989 songs\nMCA Records singles"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008.",
"How did this album do?",
"Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)"
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
Did they win any awards for this album?
| 3 |
Did Cancer Bats win any awards for Hail Destroyer ?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| true |
[
"Simply Majestic was a Canadian hip hop and dance music collective, active in the early 1990s. They are most noted for winning the Juno Award for Best R&B/Soul Recording at the Juno Awards of 1991 for their single \"Dance to the Music (Work Your Body)\". Members of the collective included producer Anthony Bond, rappers B-Kool, Frank Morrell, The Russian Prince and MC A-OK, rap groups Point Blank, Brothers from the Ghetto, the Boys of the Greenhouse and the Forbidden Ones, and rhythm and blues singer Porsha-Lee.\n\nThe band signed to Capitol-EMI Canada in 1990 as part of the first significant wave of signings of Canadian hip hop acts, and released the EP Simply Majestic featuring B-Kool that year. The single \"Dance to the Music (Work Your Body)\" won the Juno for Best R&B/Soul Recording Juno and was a nominated finalist for Rap Recording of the Year, but did not win in that category. B-Kool was also a contributor to Dance Appeal, a supergroup of dance, hip hop, rhythm and blues and reggae musicians who released the one-off single \"Can't Repress the Cause\" in 1990.\n\nThey followed up in 1991 with the album We United to Do Dis. The album again received two Juno Award nominations at the Juno Awards of 1992, in the R&B/Soul category for the single \"Destiny\" and in the Rap category for the single \"Play the Music DJ\".\n\nSimply Majestic did not release any further recordings as a collective. B-Kool released the solo album Mellow Madness in 1994, and received another Juno Award nomination for Best Rap Recording at the Juno Awards of 1994 for the single \"Got to Get Over\".\n\nReferences\n\nCanadian hip hop groups\nCanadian dance music groups\nMusical groups from Toronto\nHip hop collectives\nJuno Award for R&B/Soul Recording of the Year winners",
"The Latin Grammy Award for Best Pop Vocal Album (awarded as Best Contemporary Pop Vocal Album until 2019) is an award presented by the Latin Academy of Recording Arts & Sciences. It began to be presented at the 2012 ceremony. The awards replaced the previous awards for Best Female Pop Vocal Album, Best Male Pop Vocal Album and Best Pop Album by a Duo or Group with Vocals. According to the Latin Grammy description guide it is designed \"For albums containing 51% or more playing time of newly recorded (previously unreleased) material and 51%playing time of Contemporary Pop music. Albums must also contain 51% or more playing time of vocal tracks. For solo artists, duos or groups.\" \n\nAlejandro Sanz and Jesse & Joy are the only artists to win this category twice. Alejandro Sanz is also the most nominated artist in this category with three nominations. \n\nIn 2012, ¿Con Quién Se Queda El Perro? by Jesse & Joy won this award and it was nominated for Album of the Year; it also was nominated for the Best Latin Pop Album category at the 2013 Grammy Awards.\n\nIn 2013, La Música No Se Toca by Alejandro Sanz, Papitwo by Miguel Bosé and Vida by Draco Rosa, all were nominated for this award and for Album of the Year. Sanz received the award, and Vida by Draco Rosa won Album of the Year; Vida also won for Best Latin Pop Album, and was nominated alongside Syntek by Aleks Syntek at the 56th Annual Grammy Awards.\n\nIn 2014, Elypse by Camila won this award and was nominated for Album of the Year. Also, they were nominated for the Best Latin Pop Album category at the 57th Annual Grammy Awards.\n\nIn 2015, Sirope by Alejandro Sanz won this award and was nominated for Album of the Year. Also, Sirope, Terral by Pablo Alborán and A Quien Quiera Escuchar by Ricky Martin, all were nominated for the Best Latin Pop Album category at the 58th Annual Grammy Awards.\n\nIn 2016, Tour Terral: Tres Noches en Las Ventas by Pablo Alborán and Un Besito Más by Jesse & Joy , both were nominated for this award and for Album of the Year.\n\nIn 2017, El Dorado by Shakira won this award and was nominated for Album of the Year.\n\nIn 2019, #ElDisco by Alejandro Sanz and Fantasía by Sebastián Yatra were nominated for this award and Album of the Year. El Mal Querer by Rosalía became the first album to win this award and Album of The Year. In 2020, the award was disestablished and the Best Pop Vocal Album returned after being folded in 2000.\n\nWinners and nominees\n\n2010s\n\nSee also\nLatin Grammy Award for Best Traditional Pop Vocal Album\n\nReferences\n\nExternal links\nOfficial site of the Latin Grammy Awards\n\n \n Pop Vocal Album\nAwards established in 2012\nAwards disestablished in 2019"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008.",
"How did this album do?",
"Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)",
"Did they win any awards for this album?",
"Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards."
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
What kind of lineup changes were there?
| 4 |
What kind of lineup changes were there in Hail Destroyer?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut.
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| true |
[
"Rockwave Festival is a rock festival that takes place in Malakasa, Greece, near Athens. It is one of the most famous music festivals in Greece. The festival's history begins in 1996, but its popularity has spread since 2004. The festival's location was constantly being changed until 2004, when event park TerraVibe Park, located in Attica, became the permanent venue of the festival.\n\n2022 lineup\n\n2018 lineup\n\n2017 lineup\n\n2016 lineup\n\n2015 lineup\n\n2014 lineup\n\n2013 lineup\n\n2012 lineup\n\n2011 lineup\n\n2010 lineup\n\n2009 lineup\n\n2008 lineup\nMonday 31 March was the day when Didi Music-Big Star Promotion Ltd (music concert organizer), announced the names of the artists that would perform at Rockwave Festival 2008. Along with the names they introduced the changes in the festival's whole structure. \nThe festival is now divided in two stages, \"Terra\" stage and \"Vibe\" stage (that comes by the name of the event park \"TerraVibe\"). They also abolished the division of the \"Terra\" concert area into gates PL1 and PL2, lowered the high price of the tickets and retained the special area that is on the side of the field, where there is more comfort, as there are places to sit.\n\n2007 lineup\nWhen the band names were first announced, Stone Sour were included in the third day of the festival. Although the band cancelled a few of their dates in their European tour, My Dying Bride filled up their spot in the third day.\n\n2006 lineup\nW.A.S.P. were to play on the third day but did not perform due to health issues of Blackie Lawless.\n\n2005 lineup\n\n2004 lineup\nRunning Wild did not perform and were replaced by Gamma Ray. Muse were also to perform on the fourth day of the festival but cancelled and were replaced by Mogwai.\n\n2001 lineup\nThe festival took place in the Athens Olympic Velodrome (Athens Olympic Sports Complex) from 1 to 3 July.\nThe second day of the festival was cancelled by the Greek authorities, due to reasons of safety.\n\n2000 lineup\nThe festival took place in Tritsis Park in Ilion, Athens.\nIron Maiden cancelled their show at the third day, due to Janick Gers' accident at a previous show. The Flaming Lips also cancelled their show on the first day.\n\n1999 lineup\nThe festival took place in Agios Kosmas, Athens.\n\n1998 lineup\nThe festival took place in Freattyda, Piraeus.\n\n1997 lineup\nThe festival took place in Rizoupoli Stadium, now called Georgios Kamaras Stadium.\n\n1996 lineup\nThe first festival was called \"Rock of Gods\" and took place in the Dock 3 of the Piraeus harbour. \nMotörhead was included in the first day of the festival, but cancelled and Saxon filled up their spot. Foo Fighters were to play on the third day of the festival, but Dave Grohl broke his arm at a previous show and Violent Femmes took their place.\n\nExternal links\nRockwave Festival official Website (in Greek)\nTerra Vibe the festival hosting area\nDidi Music-Big Star Promotion Official Website (in Greek)\n\nRock festivals in Greece\nHeavy metal festivals\nMusic festivals in Greece\nMusic festivals established in 1996\nTourist attractions in Attica\nEvents in Attica\nElectronic music festivals in Greece\n1996 establishments in Greece\nSummer events in Greece",
"The Paul McCartney Band is singer Paul McCartney's longtime band of studio and touring musicians. The core lineup has been steady since 2002: In addition to McCartney, it includes Wix Wickens on keyboards and serving as musical director, Rusty Anderson on guitar, Brian Ray on bass, and Abe Laboriel Jr. on drums.\n\nHistory\nMcCartney has had only two significant incarnations of a backing band since the breakup of Paul McCartney and Wings in 1981. The former band, active from 1989 to 1993 with occasional appearances thereafter, included his wife Linda McCartney on vocals and keyboards, Hamish Stuart on guitar and bass, Wickens on keyboards, and former Pretenders Robbie McIntosh and Blair Cunningham on guitar and drums respectively. Wickens' former collaborator in Edie Brickell & New Bohemians, drummer Chris Whitten, also featured early in this lineup. This lineup played on McCartney's studio albums Flowers in the Dirt and Off the Ground and the live albums Tripping the Live Fantastic, Unplugged (The Official Bootleg), and Paul Is Live.\n\nAfter Linda McCartney died in 1998, McCartney began to coalesce a new band on his next few albums. Driving Rain featured Anderson and Laboriel. After being recruited one day before McCartney performed \"Freedom\" at Super Bowl XXXVI, Ray joined the band on Chaos and Creation in the Backyard. Memory Almost Full returned Wickens to the lineup. New and Egypt Station featured all four. Anderson and Laboriel also appeared on one track of McCartney III, an album on which all instruments other than theirs were played by McCartney himself.\n\nMcCartney credits the band's familiarity for their continued cohesiveness. He said in 2014, \"I trust the guys. They know what I'm going to do, I know what they are going to do. We surprise each other — and even if it's like, 'I didn’t know you were going to do that,' we can all follow it. That's the great thing with a band. And all of us just come to play music. There’s no other thing on the agenda. We just love playing together.\"\n\nThe quintet has also been the backbone of two decades of world tours. They appear on the live albums and DVDs Back in the U.S., Back in the World Live, Paul McCartney in Red Square, The Space Within US, Good Evening New York City, and Live in Los Angeles, the latter with David Arch filling in for Wickens. The lineup returned to the Super Bowl for McCartney's halftime show in 2005. In 2010, they played together at the White House when McCartney received the Gershwin Prize from President Barack Obama.\n\nThe current incarnation has been together longer than any of McCartney's other bands, including The Beatles and Wings. McCartney noted in 2014, “A couple of years ago, I kind of looked at them and said: ‘You know what guys? We’re a band. We’re a real band. I think up until then we’d just been thinking: ‘We’re getting together, and playing some songs.’ But we’re a band now — and that elevated our performance, I think. When we realized that, we sort of felt so much better about what we were doing.”\n\nMembers\n\nCurrent lineup\nPaul McCartney – lead vocals, bass guitar, guitar, piano ()\nWix Wickens – keyboards ()\nRusty Anderson – guitar ()\nAbe Laboriel Jr. – drums, bass guitar, guitar, keyboards ()\nBrian Ray – bass guitar, guitar ()\n\nPast lineup\nLinda McCartney – backing vocals, keyboards, percussion ()\nChris Whitten – drums ()\nRobbie McIntosh – guitar, percussion ()\nHamish Stuart – guitar, bass guitar ()\nBlair Cunningham – drums ()\n\nReferences\n\nPaul McCartney\nMusical backing groups"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008.",
"How did this album do?",
"Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)",
"Did they win any awards for this album?",
"Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.",
"What kind of lineup changes were there?",
"Bass player Andrew McCracken left to concentrate on his design company Doublenaut."
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
Who replaced him?
| 5 |
Who replaced Andrew McCracken in Hail Destroyer ?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007.
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| true |
[
"The 7th General Junta was the meeting of the General Junta, the parliament of the Principality of Asturias, with the membership determined by the results of the regional election held on 27 May 2007. The congress met for the first time on 21 June 2007.\n\nElection \nThe 7th Asturian regional election was held on 27 May 2007. At the election the Spanish Socialist Workers' Party (PSOE) remained the largest party in the General Junta but fell short of a majority again.\n\nHistory \nThe new parliament met for the first time on 21 June 2007. María Jesús Álvarez (PSOE) was elected as the president of the General Junta, with the support of PSOE and IU-BA-LV.\n\nDeaths, resignations and suspensions \nThe 7th General Junta has seen the following deaths, resignations and suspensions:\n\n 26 November 2008 - Manuel Aurelio Martín (IU/IX) and Noemí Martín (IU/IX) resigned after being appointed Minister of Rural Affairs and Fisheries and Minister of Social Welfare and Housing in the Asturian Government. Diana Camafeita (IU/IX) and Emilia Vázquez (IU/IX) replaced them respectively on 11 December 2008.\n 22 December 2009 - Francisco Javier García (IU/IX) resigned due to political disagreements with his party. Roberto Colunga (BA) replaced him on 4 February 2010.\n 13 July 2010 - Roberto Colunga (BA) left the United Left-Bloc of Asturias-The Greens group due to political disagreements with United Left, the biggest member of the coalition. He officially joined the Mixed group on 1 August 2010.\n 3 January 2011 - Pelayo Roces (PP) resigned in order to support former deputy prime minister of Spain, Francisco Álvarez-Cascos, who left the party after he wasn't picked as nominee for President of Asturias ahead of the 2007 Asturian regional election. José Manuel Felgueres replaced him on 10 February 2011.\n 31 January 2011 - Emilio Rodríguez (PP) resigned in order to join Asturias Forum (FAC), a split from the People's Party led by former deputy prime minister of Spain, Francisco Álvarez-Cascos. Pablo Álvarez (PP) replaced him on 17 February 2011.\n 3 February 2011 - Cristina Coto (PP) resigned in order to join Asturias Forum (FAC). María Isabel Pérez (PP) replaced her on 24 February 2011.\n 8 February 2011 - Marcial González (PP) resigned in order to join Asturias Forum (FAC). Rebeca Heli Álvarez (PP) replaced him on 10 March 2011.\n 17 February 2011 - Luis Servando Peláez (PP) resigned in order to join Asturias Forum (FAC). Álvaro Álvarez (PP) replaced him on 10 March 2011.\n\nMembers\n\nReferences\n\nExternal links \n\n Official website of the General Junta\n All members of the General Junta\n\nGeneral Junta of the Principality of Asturias\n2007 establishments in Spain",
"Shemp may refer to:\n Fake Shemp, someone who appears in a film as a replacement for another actor or person\n Shemp Howard (1895-1955), American actor, source of the above term after actors replaced him in films after his death"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008.",
"How did this album do?",
"Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)",
"Did they win any awards for this album?",
"Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.",
"What kind of lineup changes were there?",
"Bass player Andrew McCracken left to concentrate on his design company Doublenaut.",
"Who replaced him?",
"His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007."
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
Were they more successful after the lineup changes?
| 6 |
Were Cancer Bats more successful after Jason Bailey replaced Andrew McCracken?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
CANNOTANSWER
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| false |
[
"The following is a comprehensive discography of The Flying Burrito Brothers, an American country rock band which has evolved over time and released material under several different names. Their initial recordings were led by Gram Parsons and Chris Hillman who had recently left The Byrds. Parsons was replaced by Rick Roberts who continued to tour with the band even after the departure of Hillman. By 1975 a new lineup focused around Gib Guilbeau and other Byrds alumni such as Skip Battin and Gene Parsons. In 1977 the band recorded an album that their record company released under the name \"Sierra\" much to their surprise. By the 1980s, and after several lineup changes, the band was mostly associated with Gib Gilbeau and John Beland. They relented to record company pressure and once again changed the name of the band to just \"The Burrito Brothers\". Sneaky Pete Kleinow's pedal steel guitar playing was generally the only constant with each lineup change during this era.\n\nJohn Beland \"retired\" the Flying Burrito Brothers name in 2000. In 2002, Sneaky Pete Kleinow and other musicians recorded under the name \"Burrito Deluxe.\" Burrito Deluxe recorded three albums with various musicians, many of whom at one time had been members of the Flying Burrito Brothers in one capacity or another. After still more lineup changes, Burrito Deluxe recorded an album as simply \"The Burritos\" before reverting to their 1980s moniker: The Burrito Brothers. In 2020, The Burrito Brothers revived the Burrito Deluxe name for a rarities compilation.\n\nAlbums\n\nStudio albums\n\nLive albums\n\nCompilation albums\n\nNotable Import Releases\n\nReleases listed were not released in the US in any form:\n\nSingles (US)\n\nReferences \n\nCountry music discographies\nDiscographies of American artists",
"Rockwave Festival is a rock festival that takes place in Malakasa, Greece, near Athens. It is one of the most famous music festivals in Greece. The festival's history begins in 1996, but its popularity has spread since 2004. The festival's location was constantly being changed until 2004, when event park TerraVibe Park, located in Attica, became the permanent venue of the festival.\n\n2022 lineup\n\n2018 lineup\n\n2017 lineup\n\n2016 lineup\n\n2015 lineup\n\n2014 lineup\n\n2013 lineup\n\n2012 lineup\n\n2011 lineup\n\n2010 lineup\n\n2009 lineup\n\n2008 lineup\nMonday 31 March was the day when Didi Music-Big Star Promotion Ltd (music concert organizer), announced the names of the artists that would perform at Rockwave Festival 2008. Along with the names they introduced the changes in the festival's whole structure. \nThe festival is now divided in two stages, \"Terra\" stage and \"Vibe\" stage (that comes by the name of the event park \"TerraVibe\"). They also abolished the division of the \"Terra\" concert area into gates PL1 and PL2, lowered the high price of the tickets and retained the special area that is on the side of the field, where there is more comfort, as there are places to sit.\n\n2007 lineup\nWhen the band names were first announced, Stone Sour were included in the third day of the festival. Although the band cancelled a few of their dates in their European tour, My Dying Bride filled up their spot in the third day.\n\n2006 lineup\nW.A.S.P. were to play on the third day but did not perform due to health issues of Blackie Lawless.\n\n2005 lineup\n\n2004 lineup\nRunning Wild did not perform and were replaced by Gamma Ray. Muse were also to perform on the fourth day of the festival but cancelled and were replaced by Mogwai.\n\n2001 lineup\nThe festival took place in the Athens Olympic Velodrome (Athens Olympic Sports Complex) from 1 to 3 July.\nThe second day of the festival was cancelled by the Greek authorities, due to reasons of safety.\n\n2000 lineup\nThe festival took place in Tritsis Park in Ilion, Athens.\nIron Maiden cancelled their show at the third day, due to Janick Gers' accident at a previous show. The Flaming Lips also cancelled their show on the first day.\n\n1999 lineup\nThe festival took place in Agios Kosmas, Athens.\n\n1998 lineup\nThe festival took place in Freattyda, Piraeus.\n\n1997 lineup\nThe festival took place in Rizoupoli Stadium, now called Georgios Kamaras Stadium.\n\n1996 lineup\nThe first festival was called \"Rock of Gods\" and took place in the Dock 3 of the Piraeus harbour. \nMotörhead was included in the first day of the festival, but cancelled and Saxon filled up their spot. Foo Fighters were to play on the third day of the festival, but Dave Grohl broke his arm at a previous show and Violent Femmes took their place.\n\nExternal links\nRockwave Festival official Website (in Greek)\nTerra Vibe the festival hosting area\nDidi Music-Big Star Promotion Official Website (in Greek)\n\nRock festivals in Greece\nHeavy metal festivals\nMusic festivals in Greece\nMusic festivals established in 1996\nTourist attractions in Attica\nEvents in Attica\nElectronic music festivals in Greece\n1996 establishments in Greece\nSummer events in Greece"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008.",
"How did this album do?",
"Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)",
"Did they win any awards for this album?",
"Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.",
"What kind of lineup changes were there?",
"Bass player Andrew McCracken left to concentrate on his design company Doublenaut.",
"Who replaced him?",
"His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007.",
"Were they more successful after the lineup changes?",
"I don't know."
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
Are there any other interesting aspects about this article?
| 7 |
Are there any other interesting aspects aside from Jason Bailey replacing Andrew McCracken in this article?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer;
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
| true |
[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] |
[
"Cancer Bats",
"Lineup changes and Hail Destroyer (2007-2008)",
"What was Hail Destroyer?",
"The band released their second studio album called Hail Destroyer on April 22, 2008.",
"How did this album do?",
"Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible)",
"Did they win any awards for this album?",
"Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.",
"What kind of lineup changes were there?",
"Bass player Andrew McCracken left to concentrate on his design company Doublenaut.",
"Who replaced him?",
"His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007.",
"Were they more successful after the lineup changes?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer;"
] |
C_e73a0e4e7af94a0a80b6fce14aa4d777_0
|
Did anyone else leave the band?
| 8 |
Did anyone else leave Cancer Bats besides andrew McCracken?
|
Cancer Bats
|
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier. The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards. Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe. CANNOTANSWER
|
he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
|
Cancer Bats are a Canadian hardcore punk band from Toronto, Ontario. They have released six studio albums and six extended plays. The band is composed of vocalist Liam Cormier, drummer Mike Peters and bassist Jaye R. Schwarzer. Cancer Bats take a wide variety of influences from heavy metal sub-genres and fuse them into hardcore and punk rock, and also include elements of Southern rock. Their sound has been likened to sludge metal, as well as to that of metalcore bands such as Converge and Hatebreed. The members of Cancer Bats have also toured and recorded as a Black Sabbath tribute band under the name Bat Sabbath.
History
Early years and Birthing the Giant (2004–2006)
Cancer Bats was founded in May 2004 by singer Liam Cormier and guitarist Scott Middleton, a former member of Toronto heavy metal band At the Mercy of Inspiration. The two wanted to form a project that combined their favorite parts of bands like Entombed, Refused, Black Flag, Led Zeppelin and Down, among others. The lineup was completed with the addition of Andrew McCracken on bass and Joel Bath on drums, with Cormier moving to vocals. The four-piece wrote and recorded songs for a self-released demo that saw light in January 2005, and led to Canadian independent record label Distort Entertainment signing the band.
After deciding that a combination of illness and animal name would give the best band name, the band considered the names Cancer Bats and Pneumonia Hawk. Soon after, Mike Peters replaced Bath on the drums and the band began playing throughout Southern Ontario, playing live shows with bands like Billy Talent, Every Time I Die, Nora, Alexisonfire, Haste the Day, It Dies Today, Bane, Comeback Kid, Buried Inside, Attack in Black, Misery Signals, This Is Hell, Rise Against, The Bronx and Gallows.
On June 2, 2006, the band took part in a short interview and then played a free CD release show at The Edge 102.1 (CFNY-FM) and then on June 6 Birthing the Giant was released into major record stores. The album includes guest vocals by George Pettit of Alexisonfire. On June 7, 2006 they hosted All Things Rock, a show on MTV Canada, and had their own video played at the end of the show.
Lineup changes and Hail Destroyer (2007–2008)
Bass player Andrew McCracken left to concentrate on his design company Doublenaut. His spot was filled in by Jason Bailey (former member of Figure Four and Shattered Realm) for most of 2007. However, Bailey was then replaced by Jaye R. Schwarzer (formerly of Left Behind, Hope to Die, Minesweeper, and Kover) as he wanted to focus on being a graphic designer; he still designs artworks for Cancer Bats and remains friends with Liam Cormier.
The band released their second studio album called Hail Destroyer on April 22, 2008. The album features guest vocals by Wade MacNeil of Alexisonfire and Black Lungs, Tim McIlrath of Rise Against and Ben Kowalewicz of Billy Talent. The release was held at the Mod Club in downtown Toronto with Liam Cormier not only singing for Cancer Bats, but also performing drums for Black Lungs. On May 17, 2008, Cancer Bats were put on the cover of Kerrang!, a publication which gave their album Hail Destroyer a KKKKK review (highest possible) as well as a 5k Live review on their headlining UK tour. Cancer Bats were also nominated for 2008 Album of the Year for the 2008 Kerrang! awards.
Cancer Bats have performed at the Download Festival in 2007, Groezrock 2007 and at both Reading and Leeds Festivals in 2007 and 2008. In the summer of 2008, the band did an extensive summer and autumn tour with Bullet for My Valentine, Black Tide and Bleeding Through, as part of the No Fear music tour across North America. Also in 2008, they were a support act for Welsh band Funeral for a Friend during their tour of Britain and northern Europe.
Touring and Bears, Mayors, Scraps & Bones (2009–2011)
In March 2009, they went on tour at the annual Taste of Chaos festival along with Thursday, Four Year Strong, Pierce the Veil and Bring Me the Horizon, keeping a daily blog on their website. At about this time Cancer Bats were also featured in Bring Me the Horizon's video for "Chelsea Smile", in which they appear in the "Kitchen Scene" of the video playing cards. Also in March, Liam Cormier lent his vocals to sing on fellow Canadian band Silverstein's fourth studio album A Shipwreck in the Sand on the track "Vices".
Cancer Bats returned to the UK in 2009, after Swedish melodic metal band In Flames cancelled their April 2009 concerts, on which Cancer Bats were slated to be main support. The band is also featured on Gallows' latest album Grey Britain on May 2. On August 1, Cancer Bats played a slot at the premier showing of the Sonisphere festival and at the inaugural Hevy Music Festival. Also in 2009, Cancer Bats appeared in an episode of the documentary series City Sonic, reflecting on their time at the Adrift Clubhouse. In October and November, the band supported Billy Talent on their UK and European tour. During the tour they performed several new songs from their third album, including "Darkness" and "Scared to Death".
In January and February 2010, the band toured the US supporting Anti-Flag. Following that tour they joined fellow Canadians Billy Talent, Alexisonfire and the American band Against Me! on a tour across Canada throughout March. Cancer Bats released their third album Bears, Mayors, Scraps & Bones on April 12 in the UK. On March, the band did a track by track talk with Rock Sound. A music video was shot for their cover of the Beastie Boys song "Sabotage", a track recorded for the album. In September of the same year they opened for Bring Me the Horizon on their UK tour along with Tek One.
In late 2011, Cancer Bats toured Canada as a Black Sabbath tribute band under the moniker "Bat Sabbath". The concept started at Sonisphere Festival on July 10, 2011 when the band was asked to do an after-party show, on top of their initial set in the afternoon, in the tent stage after Slipknot played the main stage. The dates they performed at for the Sonisphere were the last dates they did before they stopped to work on a follow up to their third studio album. After the performances at the various Sonisphere dates they did a 12 date Canadian tour in December 2011 centred around the Black Sabbath tribute.
Dead Set on Living (2012–2014)
The band announced that the fourth album is titled Dead Set on Living, which was released on April 16, 2012. Cancer Bats had stated that they desired to create a more "upbeat" follow up to their previous album Bears, Mayors, Scraps & Bones.
The band's influence steered away from the "traditional hardcore record" and took a wide variety of influences from rock bands including Fleet Foxes. Liam Cormier when asked about his influences stated: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically. So for me, I listen to a lot of indie rock and I've been getting super psyched on a lot of that, like the new 'Helplessness Blues' by Fleet Foxes".
On January 24, Distort Entertainment released the video for the single "Old Blood" online. On March 7, 2012 Cancer Bats released a second music video in promotion of the album for the song "Road Sick". Cancer Bats' announced that they would play several release shows on April 21, 2012. They have aimed to play six shows at five different venues across London, United Kingdom, in the shape of a pentagram in promotion of their fourth album.
Searching for Zero (2015–19)
Cancer Bats' fifth studio album, Searching for Zero, was released on March 10, 2015. The band posted the song "Arsenic" off the album on YouTube. A post on their official site stated the reason for the band being silent for quite some time: "For those of you who didn't know, the reason we've been gone for so long was to craft our 5th full length! We worked our asses off making a serious banger that we could all party the fuck out of! We even went down to Venice Beach to record with Ross Robinson so it would sound extra dope…..which it does!"
The band released their sixth studio album titled The Spark That Moves on April 20, 2018. In September 2019, they would perform alongside American hardcore punk band Sharptooth and Canadian punk rock band Single Mothers.
Cancelled 2020 Tour, Scott Middleton's departure, and future (2020-2021)
In April 2020 the band's summer tour was called off during the 2020 COVID-19 pandemic. Plans to resume in spring 2021 with Cannibal Rats opening were announced in late May 2020.
On October 4th 2021, the band announced via their Facebook and Instagram pages that founding member and lead guitarist Scott Middleton would be departing the band to focus on his family, health, and to pursue personal interests in recording, mixing, and mastering music out of his own studio.
Recordings
The band have released six albums. Birthing the Giant was their first full-length album. It was released on June 6, 2006 by Distort Entertainment in Canada and September 5, 2006 by Abacus Recordings in the US. Videos were shot for "100 Grand Canyon", "French Immersion" and "Pneumonia Hawk". Hail Destroyer was the band's second full-length album. It was released on April 22, 2008 by Distort Entertainment in Canada and on June 24, 2008 by Metal Blade Records in the US. Bears, Mayors, Scraps & Bones was released on April 13, 2010 through Distort Entertainment in Canada. The name of the album derives from each of the band members personal nickname (Mike - Bear; Scott - Mayor; Liam - Scraps; Jaye - Bones).
They have also released five singles and EPs. Cancer Bats was the first EP by the band. It was produced and engineered by guitarist Scott Middleton. This EP was sold at all the live shows leading up until the release of Cancer Bats' first album Birthing the Giant and later repressed as a 7" record by Tragicomedy Records. This Is Hell / Cancer Bats was a limited release 7" vinyl EP shared with the This Is Hell band. Each band contributes one new song, and one cover song of the other band. Rolo Tomassi / Cancer Bats was a split release with the band Rolo Tomassi in 2009. The songs were recorded and released at the beginning of 2009 on to a limited amount of black 7" vinyl through Hassle Records. The vinyl is strictly limited to 300 copies and was only available through each artist's shows, and Rolo Tomassi's 'Subs Club' 7" (2009). Cancer Bats also released the Tour EP (2009). On March 2, 2010, Cancer Bats released the Sabotage EP. Its name is derived from their cover of the Beastie Boys' song "Sabotage". The band has also shot a music video for the song that premiered on February 16 through the band's MySpace page.
In 2019 New Damage records released a split 7 inch vinyl record called : New Damage Records Switcheroo series vol 1. , where Cancer Bats and Single Mothers cover each other's songs. Single Mothers cover the song Road Sick from Dead Set On Living, while Cancer Bats cover Dog Parks / Switch Off. The Cancer Bats side was recorded while on tour in Belgium in 2019 at House Rott Child by Scott Middleton who also Mixed the songs.
Members
Current members
Liam Cormier – lead vocals (2004–present), drums, percussion (2004)
Mike Peters – drums, percussion (2005–present)
Jaye R. Schwarzer – bass guitar, backing vocals (2007–present), guitar (2021–present)
Former members
Joel Bath – drums, percussion (2004–2005)
Andrew McCracken – bass guitar (2004–2006)
Jason Bailey – bass guitar (2006–2007)
Scott Middleton – guitar, backing vocals (2004–2021)
Wade MacNeil – guitar, backing vocals (2019; touring substitute for Scott Middleton)
Timeline
Discography
Studio albums
Birthing the Giant (2006)
Hail Destroyer (2008)
Bears, Mayors, Scraps & Bones (2010)
Dead Set on Living (2012)
Searching for Zero (2015)
The Spark That Moves (2018)
EPs
2005: Cancer Bats
2007: This Is Hell / Cancer Bats 7"
2009: Rolo Tomassi / Cancer Bats <ref>{{cite web|url=http://www.alterthepress.com/2009/02/limited-edition-cancer-batsrolo-tomassi.html|title=Alter The Press!: Limited Edition Cancer Bats/Rolo Tomassi Split 7 Announced|access-date=15 September 2014}}</ref>
2009: Tour EP2010: Sabotage EP2011: Cancer Bats / Black Lungs2013: Bat Sabbath EP2019: New Damage Records Switcheroo Vol 1. : Cancer Bats / Single Mothers2020: You'll Never Break Us // Separation Sessions, Vol. 1''
Nominations
References
External links
Official website
Torontomusicscene.ca interview
Liam Cornier Interview
Canadian hardcore punk groups
Canadian metalcore musical groups
Musical groups from Toronto
Musical groups established in 2004
Black Market Activities artists
Hassle Records artists
Musical quartets
Sludge metal musical groups
2004 establishments in Ontario
Metal Blade Records artists
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"\"Did Anyone Approach You?\" is a song by the Norwegian band A-ha. It was the third single to be taken from their 2002 album Lifelines. It was recorded at The Alabaster Room in New York City sometime between June 2001 and January 2002.\n\nTrack listing\n \"Did Anyone Approach You? (Original Album Version)\" (4:11)\n \"Did Anyone Approach You? (Turner Remix)\" (3:43)\n \"Did Anyone Approach You? (Reamped)\" (4:51)\n \"Did Anyone Approach You? (Tore Johansson Remix)\" (5:55)\n \"Afternoon High (Demo Version)\" (4:40)\n \"Did Anyone Approach You? (Video Clip)\" (4:11)\n\nVideo\nThe video was filmed by Lauren Savoy, the wife of A-ha guitarist Paul Waaktaar-Savoy. It was shot at Ullevaal Stadion on 6 June 2002, the first concert on the band's Lifelines tour.\n\nCharts\n\nReferences\n\n2002 singles\nA-ha songs\nSongs written by Paul Waaktaar-Savoy\nWarner Music Group singles\n2002 songs",
"The Moldy Peaches were an American indie group founded by Adam Green and Kimya Dawson. Leading proponents of the anti-folk scene, the band has been on hiatus since 2004. The appearance of their song \"Anyone Else but You\" in the film Juno significantly raised their profile; Dawson and Green made a handful of reunion appearances together in December 2007.\n\nHistory\nGreen and Dawson met at Exile on Main Street Records in Mount Kisco, New York, and began working together. Green put out a 7\" Ep called \"X-Ray Vision\" under the name The Moldy Peaches, featuring recordings he made from 1994–96 with Dawson and various other friends, notably Jules Sheridan, a songwriter based in Scotland. Green and Dawson recorded a CDR album in 1998 under the name Moldy Peaches 2000 called FER THE KIDS before Dawson moved to Port Townsend, Washington. In early 1999 Green joined her there, and more home and live recordings transpired. The band returned to NYC as a 4 piece later in the year (including Jest Commons, guitar, and Justin Campbell, drums). They became active on the NYC anti-folk scene, playing at the SideWalk Cafe before the band broke up. Dawson and Green both recorded solo albums. The band reformed in August 2000 with Chris Barron of the Spin Doctors on lead guitar, Brian Piltin on bass guitar, and Strictly Beats (Brent Cole) on drums. (The \"2000\" was dropped from their name around this time). A new 11 song album was recorded, which led to a deal with Rough Trade in the UK. They gained recognition after their initial 7\" 'Who's Got the Crack\" was named 'Single of the Week' in NME. Rough Trade released the album The Moldy Peaches in 2001. Released in the U.S. on September 11, 2001, it contained the song \"NYC Is Like a Graveyard\". The band expanded to a six-piece, with guitarists Jack Dishel and Aaron Wilkinson, bass player Steven Mertens, and drummer Strictly Beats, augmenting the original duo of Dawson and Green. They toured internationally with The Strokes with whom they shared record label and management.\n\nAaron Wilkinson left the band and was replaced by Toby Goodshank. Wilkinson died from an overdose in July 2003. The Strokes dedicated their album Room on Fire to his memory.\n\nIn 2003 a second album Moldy Peaches 2000 was released, a double-CD compilation of various scraps and live recordings.\n\nAfter an extensive US headlining tour in the winter of 2003, the band went into hiatus in early 2004. However, the band reunited in late 2004 for a one-off show to benefit Accidental CDs, Records and Tapes, a hole-in-the-wall record store on Ave A in NYC. That store was an early supporter of the band and helped hook them up with the gig that ultimately got them their record deal. Both central members embarked on solo careers.\n\nOn December 2, 2007, Dawson and Green played an impromptu set together at Los Angeles' The Smell to end a show where Dawson was headlining. They changed the lyrics of the song \"Who's Got The Crack\" to \"Who's Got The Blues\". On December 3, 2007, the Moldy Peaches played at the Juno film premiere.\n\nThe band was booked to appear on the Conan O'Brien television show on January 14, 2008, but they canceled because of the writer's strike. Dawson has said that she is not keen to reform the band at present. However, Dawson and Green did appear together on the NPR radio show Bryant Park Project on January 16, 2008. and appeared on television show The View on January 21, 2008.\n\nSubsequent to the success of the Juno soundtrack, which hit No. 1 on the Billboard 200 on its third week of physical release, the song \"Anyone Else but You\" was released as a UK single on February 25, 2008.\n\nOn November 13, 2011, The Moldy Peaches played a short set at the Knitting Factory in New York.\n\nSolo projects\nGreen released his seventh solo album and accompanying film, Aladdin, in 2016 via Fat Possum. His initial band included a 3-piece string section.\n\nDawson has continued to tour playing small clubs and house parties. Her album Remember That I Love You on K Records has been well received. Dawson collaborated with Aesop Rock on the album Hokey Fright under the name The Uncluded.\n\nDishel's former outfit Stipplicon having broken up, he formed a new band, Only Son, who have toured with Regina Spektor. Dishel also plays in Spektor's band.\n\nMertens has his own group SpaceCamp and plays in Green's backing band.\n\nCole is in the boyband Candy Boys and has performed with numerous acts including Dufus, Jeffrey Lewis, Only Son, Sandra Bernhard, and Toby Goodshank.\n\nGoodshank plays solo shows and is also in a duo, Double Deuce, with his sister Angela.\n\nNotable appearances\n The song \"Anyone Else but You\" was used in the Academy Award-nominated documentary film Murderball (film).\n The song \"Anyone Else but You\" was used in a mobile phone TV-ad in France during World Cup 2006, featuring French star Zinedine Zidane.\n The song \"Anyone Else but You\" is central to the 2007 Academy Award-winning film Juno and a version is also performed by the two main characters (Elliot Page and Michael Cera).\n A re-written version of \"Anyone Else but You\" was featured in a commercial for Atlantis Resorts in the Bahamas.\n The song \"Jorge Regula\" was used in a Pepsodent commercial in Hispanic America, without the group's permission.\n A version of the song \"Jorge Regula\" also appears in the 2006 indie film The Guatemalan Handshake.\n\nPersonnel\nKimya Dawson – vocals, guitars (1994–2004, 2007–2008)\nAdam Green – vocals, guitars (1994–2004, 2007–2008)\nJustice Campbell – drums (1999)\nJest Commons – guitars (1999)\nBrent Cole – drums (2000–2004)\nChris Barron – guitars (2000–2001)\nBrian Piltin – bass (2000–2001)\nJack Dishel – guitars (2001–2004)\nSteven Mertens – bass (2001–2004)\nAaron Wilkinson – guitars (2001–2002; died 2003)\nToby Goodshank – guitars (2002–2004)\n\nTimeline\n\nDiscography\nAfter releasing their first few records themselves, The Moldy Peaches have released music internationally through Rough Trade. In the United States records were originally released under the Sanctuary Records banner but, since the demise of Sanctuary and the takeover of Rough Trade by the Beggars Group, U.S. releases are now also on Rough Trade.\n\n X-Ray Vision (EP) – Average Cabbage Records – 1996\n Moldy Peaches 2000: Fer the Kids/ Live 1999 (Cassette/CD) – Average Cabbage Records – 1999\n\"The Love Boat\" - Live!!! (Cassette) – Average Cabbage Records – 1999\n The Moldy Peaches (CD-R) – Pro-Anti Records – 2000 (11-song CD, similar cover to next release, all songs included on later albums or singles).\n The Moldy Peaches (CD/LP) – Sanctuary Records/Rough Trade – 2001 (compilation from previous self-releases plus 1 re-recording of \"Nothing Came Out\")\n \"County Fair/Rainbows\" (CD single) – Sanctuary Records/Rough Trade – 2002\n Moldy Peaches 2000: Unreleased Cutz and Live Jamz 1994-2002 (CD) – Sanctuary Records/Rough Trade – 2003\n \"Anyone Else but You\" (single) – Rough Trade – 2008\n Origin Story: 1994–1999 (CD/LP/Cassette) – Org Music – 2022\n\nCompilation appearances\n Music from the Film Garage Days (\"Lucky Number Nine\") – Festival Mushroom Records 2002\nMusic from the Film Murderball (\"Anyone Else but You\") – Commotion 2005\nMusic from the Motion Picture Juno (\"Anyone Else but You\") – Rhino Records 2007\n\nReferences\n\nExternal links\n\n www.moldypeaches.com Official site.\n MP2K The original official site (archive.org)\nThe Moldy Peaches Beggars Group USA page\n\nAnti-folk groups\nMusical groups established in 1994\nMusical groups disestablished in 2008\nIndie rock musical groups from New York (state)\nPsychedelic folk groups\nRough Trade Records artists\nMusical groups from Washington (state)"
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"Wilhelm Stekel",
"Theory of neurosis"
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C_41830a18cada4f37937bf5c79464cb55_1
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What was Stekel's theory of neurosis?
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What was Stekel's theory of neurosis?
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Wilhelm Stekel
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Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud. CANNOTANSWER
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In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms.
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Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.
Early life
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood.
After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert, Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz.
From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there.
In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing.
Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894.
Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.
Career
Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.
Contributions to psychoanalytic theory
Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".
Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.
On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.
On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".
On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".
Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.
He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.
A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101
In popular culture
He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause. The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.
Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917). Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929). Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929). Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press
References
Further reading
External links
Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
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"Emil Arthur Gutheil (January 21, 1889 – July 7, 1959) was a Polish-American psychiatrist specializing in human sexuality, music therapy, and psychoanalysis. He was a founder of the Association for the Advancement of Psychotherapy and editor of the American Journal of Psychotherapy.\n\nLife and career\nGutheil was born in Poland and educated at the University of Vienna. He was neuro-psychiatrist at the University Clinic and served as personal assistant to Wilhelm Stekel. He co-founded the Active-analytic Clinic in Vienna, but emigrated with his wife to the United States in the late 1930s, fearing Nazi persecution. He served at the psychiatric clinic of Mount Sinai Hospital, New York. Gutheil edited Stekel's autobiography.\n\nGutheil died in New York City following a heart attack. The Gutheil Library at Baruch College and the Gutheil Memorial Conference of the Association for the Advancement of Psychotherapy are named in his honor.\n\nSelected publications\nGutheil EA (1930). An analysis of a case of transvestism. In Stekel, Sexual Aberrations; the Phenomenon of Fetishism in Relation to Sex. Liveright, pp. 345–351.\nGutheil EA (1934). Analysis of a Case of Migraine. Psychoanalytic Review, 21:272-299\nGutheil EA (1939). The Language of the Dream. M.D. New York - The Macmillan Company.\nGutheil EA (1944). Psychoanalysis and brief psychotherapy. J. Clin. Psychopath. & Psychotherapy, vol. VI, pp. 207–230.\nGutheil EA (1947). Occupational neurosis in a musician. Am J Psychother. 1947 Oct;1(4):448-67. \nGutheil EA (1947). A rare case of sadomasochism. Am J Psychother. 1947 Jan;1(1):87-92. \nGutheil EA (1948). Dream and suicide. Am J Psychother. 1999 Spring;53(2):246-57. \nGutheil EA (1948). Training in psychotherapy. Am J Psychother. 1948 Oct;2(4):676-89. \nGutheil EA (1949). On the margin. Am J Psychother. 1949 Jul;3(3):430-3. \nGutheil EA (1951). The handbook of dream analysis. Liveright. 1970 reprint \nStekel W, Gutheil EA, eds. (1952). Patterns of psychosexual infantilism. Liveright, \nGutheil EA (1952). Music and your emotions. Liveright. 1970 reprint \nGutheil EA (1952). Does psychotherapy dormant psychoses? Am J Psychother. 1952 Oct;6(4):673-6. \nGutheil EA (1954). Music as adjunct to psychotherapy. Am J Psychother. 1954 Jan;8(1):94-109. \nGutheil EA (1954). The psychologic background of transsexualism and transvestism. Am J Psychother. 1954 Apr;8(2):231-9. \nGutheil EA (1955). Current trends in psychotherapy. J Med Soc N J. 1955 Nov;52(11):580-5. \nGutheil EA (1955). Pseudoneurotic forms of depressive psychosis. Am J Psychother. 1955 Oct;9(4):719-36. \nGutheil EA (1958). Public education in preventive psychiatry. Am J Psychother. 1958 Oct;12(4):826-30. \nGutheil EA (1958). Dreams as an aid in evaluating ego strength. Am J Psychother. 1958 Apr;12(2):338-57. \nGutheil EA (1959). Reactive depressions. Reactive depressions. In S. Arieti (Ed.), American handbook of psychiatry, Vol. 1. New York: Basic Books, 1959.\nGutheil EA (1959). Problems of therapy in obsessive-compulsive neurosis. Am J Psychother. 1959 Oct;13:793-808. \nStekel W, Gutheil EA, Wertham F, van Teslaar JS (1961). Auto-erotism: a psychiatric study of masturbation and neurosis. Grove Press\nGutheil EA (1962). The exhibitionism of Jean Jacques Rousseau. An abstract of Stekel's analysis. Am J Psychother. 1962 Apr;16:266-77.\n\nReferences\n\nExternal links\nPCMH History: Gutheil Library via Baruch College\n\n1889 births\n1959 deaths\nUniversity of Vienna alumni\nPolish emigrants to the United States\nPolish psychiatrists\nAmerican psychiatrists",
"Rosalie Adolfine Johanna Gabler (c.1870–1949) was a German-British psychotherapist. A \"good friend and former pupil\" of the pioneer psychoanalyst Wilhelm Stekel, she translated several books by Stekel into English.\n\nLife\nAround 1901 Gabler had a child, Katharina, known as Katie. However, she subsequently divorced her husband and moved with her daughter to England. In the early 1920s she befriended Harold Samuel Coxeter, father of the future geometer Harold Coxeter. In 1922 her daughter Katie married Harold Samuel Coxeter.\n\nGabler was a member of the British Psychological Society and the Society for the Study of Orthopsychics. She also corresponded with the British Sexological Society.\n\nIn June 1934 she became naturalized as a British citizen. In the 1940s she was living in Peaslake near Guildford.\n\nWorks\n (tr.) The Beloved Ego: foundations of the new study of the psyche by Wilkelm Stekel. Kegan Paul & Co.: London, 1921.\n (tr.) Disguises of love: psychoanalytic sketches by Wilhelm Stekel. London: K. Paul, Trench, Trubner, 1922.\n (tr.) Conditions of nervous anxiety and their treatment by Wilhelm Stekel. London: K. Paul, Trench, Trubner, 1923.\n\nReferences\n\nNaturalised citizens of the United Kingdom\nGerman emigrants to England\nBritish psychotherapists\nYear of birth missing\n19th-century births\n1949 deaths"
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"Wilhelm Stekel",
"Theory of neurosis",
"What was Stekel's theory of neurosis?",
"In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms."
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C_41830a18cada4f37937bf5c79464cb55_1
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How did this differ from Freud's theory of neurosis?
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How did Stekel's theory of neurosis differ from Freud's theory of neurosis?
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Wilhelm Stekel
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Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud. CANNOTANSWER
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the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
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Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.
Early life
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood.
After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert, Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz.
From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there.
In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing.
Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894.
Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.
Career
Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.
Contributions to psychoanalytic theory
Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".
Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.
On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.
On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".
On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".
Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.
He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.
A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101
In popular culture
He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause. The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.
Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917). Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929). Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929). Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press
References
Further reading
External links
Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
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"Narcissistic neurosis is a term introduced by Sigmund Freud to distinguish the class of neuroses characterised by their lack of object relations and their fixation upon the early stage of libidinal narcissism. The term is less current in contemporary psychoanalysis, but still a focus for analytic controversy.\n\nFreud considered such neurosis as impervious to psychoanalytic treatment, as opposed to the transference neurosis where an emotional connection to the analyst was by contrast possible.\n\nFreud's changing ideas\nFreud originally applied the term \"narcissistic neurosis\" to a range of disorders, including perversion, depression, and psychosis. In the 1920s, however, he came to single out \"illnesses which are based on a conflict between the ego and the super-ego... we would set aside the name of 'narcissistic psycho-neuroses' for disorders of that kind\"—melancholia being the outstanding example.\n\nAbout the same time, in the wake of the work of Karl Abraham, he began to modify to a degree his view on the inaccessibility of narcissistic neurosis to analytic treatment. However his late lectures from the thirties confirmed his opinion of the unsuitability of narcissistic and psychotic conditions for treatment \"to a greater or less extent\"; as did his posthumous 'Outline of Psychoanalysis'.\n\nLater developments\nFrom the twenties onwards, Freud's views of the inaccessibility of the narcissistic neuroses to analytic influence had been challenged, first by Melanie Klein, and then by object relations theorists more broadly.\n\nWhile classical analysts like Robert Waelder would maintain Freud's delimiting standpoint into the sixties, eventually even within ego psychology challenges to the 'off-limits' view of what were increasingly seen as borderline disorders emerged.\n\nRelational psychoanalysis, like Heinz Kohut, would also take a more positive approach to narcissistic neurosis, emphasising the need for a partial or initial participation in the narcissistic illusions.\n\nIn retrospect, Freud's caution may be seen as a result of his unwillingness to work with the negative transference, unlike the post-Kleinians.\n\nSee also\n Charles Brenner\n Paul Federn\n Transference\n\nReferences\n\nFurther reading\n Karl Abraham, Selected Papers on Psycho-Analysis (New York 1979)\n\nExternal links \n Narcissistic neurosis\n\nPsychoanalytic terminology\nFreudian psychology\nNarcissism",
"Freud's seduction theory () was a hypothesis posited in the mid-1890s by Sigmund Freud that he believed provided the solution to the problem of the origins of hysteria and obsessional neurosis. According to the theory, a repressed memory of an early childhood sexual abuse or molestation experience was the essential precondition for hysterical or obsessional symptoms, with the addition of an active sexual experience up to the age of eight for the latter.\n\nIn the traditional account of development of seduction theory, Freud initially thought that his patients were relating more or less factual stories of sexual mistreatment, and that the sexual abuse was responsible for many of his patients' neuroses and other mental health problems. Within a few years Freud abandoned his theory, concluding that the memories of sexual abuse were in fact imaginary fantasies.\n\nAn alternative account that has come to the fore in recent Freudian scholarship emphasizes that the theory, as posited by Freud, was that hysteria and obsessional neurosis result from unconscious memories of sexual abuse in infancy. In the three seduction theory papers published in 1896, Freud stated that with all his current patients he had been able to uncover such abuse, mostly below the age of four. These papers indicate that the patients did not relate stories of having been sexually abused in early childhood; rather, Freud used the analytic interpretation of symptoms and patients' associations, and the exerting of pressure on the patient, in an attempt to induce the \"reproduction\" of the deeply repressed memories he posited. Though he reported he had succeeded in achieving this aim, he also acknowledged that the patients generally remained unconvinced that what they had experienced indicated that they had actually been sexually abused in infancy. Freud's reports of the seduction theory episode went through a series of changes over the years, culminating in the traditional story based on his last account, in New Introductory Lectures on Psychoanalysis.\n\nFreud’s seduction theory\nOn the evening of April 21, 1896, Sigmund Freud presented a paper before his colleagues at the Society for Psychiatry and Neurology in Vienna, entitled \"The Aetiology of Hysteria\". Using a sample of 18 patients—male and female—from his practice, he concluded that all of them had been the victims of sexual assaults by various caretakers. The cause of the patient's distress lay in a trauma inflicted by an actor in the child's social environment. The source of internal psychic pain lay in an act inflicted upon the child from outside. This led to his well-known ‘seduction theory’.\n\nThe medical journals of that time did not report Freud's lecture. In the Wiener klinische Wochenschrift, published weekly in Vienna, on May 14, 1896, three papers were reported from the April 21 meeting (p. 420). Two of the papers were reported in the usual manner. Invariably, the practice was to give the title of a paper, a brief summary of its contents, and an account of the ensuing discussion. But in the citation of the last paper, there was a break with tradition. The report reads as follows: Docent Sigm. Freud: Über die Ätiologie der Hysterie (Sigmund Freud, lecturer: On the Aetiology of Hysteria.) There was no summary and no discussion. Freud published it a few weeks later in the Wiener klinische Rundschau.\n\nOn the other hand, Freud had no trouble publishing three papers on the subject in a matter of months. Doubt has been cast on the notion that the occurrence of child sexual abuse was not acknowledged by most of Freud's colleagues. It has been pointed out that they were skeptical about Freud's claims of one hundred percent confirmation of his theory, and would have been aware of criticisms that his suggestive clinical procedures were liable to produce findings of doubtful validity.\n\nFreud's seduction theory emphasizes the causative impact of nurture: the shaping of the mind by experience. This theory held that hysteria and obsessional neurosis are caused by repressed memories of infantile sexual abuse. Infantile sexual abuse, the root of all neurosis, is premature introduction of sexuality into the experience of the child. Trauma creates affects and thoughts that simply cannot be integrated. The adult who had a normal, non traumatic childhood is able to contain and assimilate sexual feelings into a continuous sense of self. Freud proposed that adults who experienced sexual abuse as a child suffer from unconscious memories and feelings incompatible with the central mass of thoughts and feelings that constitute his or her experience. Psychic disorders are a direct consequence of experiences that cannot be assimilated. Unconscious memories of infantile sexual abuse was a necessary condition for the development of certain disorders, hysteria in particular. But another condition had to be met: There had to be an unconscious memory of the abuse.\n\nFreud’s reported evidence for the seduction theory\nFreud had a lot of data as evidence for the seduction theory, but rather than presenting the actual data on which he based his conclusions (his clinical cases and what he had learned from them) or the methods he used to acquire the data (his psychoanalytic technique), he instead addressed only the evidence that the data he reportedly acquired were accurate (that he had discovered genuine abuse). He thought that the community could not yet handle the clinical case stories about sexual abuse. He did not want to present these stories before the seduction theory had become more accepted. Freud made several arguments to support the position that the memories he had uncovered were genuine. One of them was, according to Freud, that the patients were not simply remembering the events as they would normally forgotten material; rather they were essentially reliving the events, with all the accompanying painful sensory experiences.\n\nOn two occasions Freud wrote that he would be presenting the clinical evidence for his claims, but he never did so, which some critics have contended means that they have had to be taken largely on trust. Freud's clinical methodology at the time, involving the symbolic interpretation of symptoms, the use of suggestion and the exerting of pressure to induce his patients to \"reproduce\" the deeply repressed memories he posited, has led several Freud scholars and historians of psychology to cast doubt on the validity of his findings, whether of actual infantile abuse, or, as he later decided, unconscious fantasies.\n\nAbandonment of ‘seduction theory’\nFreud did not publish the reasons that led to his abandoning the seduction theory in 1897–1898. For these we have to turn to a letter he wrote to his confidant Wilhelm Fliess dated 21 September 1897. \nFirst, he referred to his inability to “bring a single analysis to a real conclusion” and \"the absence of complete successes\" on which he had counted. \nSecond, he wrote of his “surprise that in all cases, the father, not excluding my own, had to be accused of being perverse\" if he were to be able to maintain the theory; and the \"realization of the unexpected frequency of hysteria… whereas surely such widespread perversions against children are not very probable.\" \nThird, Freud referred to indications that, he argued, the unconscious is unable to distinguish fact from fiction. In the unconscious there is no sign of reality, so one cannot differentiate between the truth and the fiction invested with feeling. \nFourth, Freud wrote of his belief that in deep-reaching psychosis, unconscious memories do break through to the conscious, \"so the secret of childhood experiences is not disclosed even in the most confused delirium.\" (In the same letter Freud wrote that his loss of faith in his theory would remain known only to himself and Fliess, and in fact he did not make known his abandonment of the theory publicly until 1906.)\n\nThe collapse of the seduction theory led in 1897 to the emergence of Freud's new theory of infantile sexuality. The impulses, fantasies and conflicts that Freud claimed to have uncovered beneath the neurotic symptoms of his patients derived not from external contamination, he now believed, but from the mind of the child itself.\n\nThere were some serious negative consequences of this shift. The most obvious negative consequence was that a limited interpretation of Freud's theory of infantile sexuality would cause some therapists and others to deny reported sexual abuse as fantasy; a situation that has given rise to much criticism (e.g. The Freudian Coverup by social worker Florence Rush). However, without the rejection of the seduction theory, concepts such as the unconscious, repressions, the repetition compulsion, transference and resistance, and the unfolding psychosexual stages of childhood would never have been added to human knowledge.\n\nAn alternative view involves the recognition that the notion of unconscious mental processes was commonplace before Freud started writing on the subject. Moreover, the skepticism of almost all non-Freudian psychiatrists and psychologists towards Freud's psychosexual stages of childhood is that it is not consistent with much of current informed opinion.\n\nSee also\n Jean Laplanche, psychoanalyst and theorist who took up Freud's abandoned theory and developed his théorie de la séduction généralisée in 1987\n Emma Eckstein\n Auguste Ambroise Tardieu, French medical doctor and one of the first to examine and report sexual abuse in children\n The Assault on Truth by Jeffrey Moussaieff Masson\n The Freudian Coverup by Florence Rush\n In the Freud Archives by Janet Malcolm\n\nReferences\n\nFurther reading\n Cioffi, F. (1998 [1973]. Was Freud a liar? Freud and the Question of Pseudoscience. Chicago: Open Court, pp. 199–204.\n Kurt R. Eissler, Freud and the seduction theory: A brief love affair, New York: International Universities Press, 2001\n Robert Fliess, Symbol, Dream and Psychosis: Volume III Psychoanalytic Series, 1973\n Esterson, A. (1998). Jeffrey Masson and Freud's seduction theory: a new fable based on old myths. History of the Human Sciences, 11 (1), pp. 1–21. http://human-nature.com/esterson/\n Esterson, A. (2001). The mythologizing of psychoanalytic history: deception and self-deception in Freud's accounts of the seduction theory episode. History of Psychiatry, Vol. 12 (3), pp. 329-352.\n \n Freud, S. (1896a). Heredity and the aetiology of the neuroses. Standard Edition Vol. 3, 143-156.\n Freud, S. (1896b). Further remarks on the neuro-psychoses of defence. Standard Edition Vol. 3, 162-185.\n Freud, S. (1896c). The aetiology of hysteria. Standard Edition, Vol. 3, 191-221.\n Israëls, H. and Schatzman, M. (1993) The Seduction Theory. History of Psychiatry, iv: 23-59.\n Masson, J. M. (1984). The Assault on Truth: Freud's Suppression of the Seduction Theory. New York: Farrar, Straus and Giroux.\n Masson, J. M. (editor) (1985). The Complete Letters of Sigmund Freud to Wilhelm Fliess 1887-1904. ed. and trans. J. M. Masson. Cambridge, MA: Harvard University Press.\n Schimek, J. G. (1987). Fact and Fantasy in the Seduction Theory: a Historical Review. Journal of the American Psychoanalytic Association, xxxv: 937-65.\nWolff, Larry (1988 / 1995): Child Abuse in Freud's Vienna. New York: New York University Press. .\n\nExternal links \n\"Freud and Seduction Theory Reconsidered\"\n\"Interview with Larry Wolff on Freud and the Seduction Theory\"\n\nHistory of psychology\nFreudian psychology"
] |
[
"Wilhelm Stekel",
"Theory of neurosis",
"What was Stekel's theory of neurosis?",
"In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms.",
"How did this differ from Freud's theory of neurosis?",
"the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams\"."
] |
C_41830a18cada4f37937bf5c79464cb55_1
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What were some of Wilhelm's other ideas?
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Besides Stekel's theory of neurosis, what were some of Wilhelm's other ideas?
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Wilhelm Stekel
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Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud. CANNOTANSWER
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The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
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Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.
Early life
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood.
After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert, Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz.
From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there.
In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing.
Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894.
Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.
Career
Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.
Contributions to psychoanalytic theory
Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".
Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.
On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.
On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".
On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".
Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.
He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.
A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101
In popular culture
He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause. The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.
Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917). Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929). Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929). Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press
References
Further reading
External links
Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
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[
"Geistesgeschichte (from German Geist, \"spirit\" or \"mind\" [here connoting the metaphysical realm, in contradistinction to the material], and Geschichte, \"history\") is a concept in the history of ideas denoting the branch of study concerned with the undercurrents of cultural manifestations, within the history of a people, that are peculiar to a specific timeframe.\n\nThe term is a largely untranslatable term, sometimes translated as \"intellectual history\" or \"history of ideas\", and sometimes used synonymously with Problemgeschichte. The branch of study it denotes is often seen as having been inspired by the type of work done by Wilhelm Dilthey and his followers.\n\nSee also\n Wilhelm Dilthey\n Max Dvořák\n Erich Heller\n\nReferences\n\nHistoriography\nGerman words and phrases\nWilhelm Dilthey",
"A Burschenschaft (; sometimes abbreviated in the German Burschenschaft jargon; plural: ) is one of the traditional (student associations) of Germany, Austria, and Chile (the latter due to German cultural influence).\nBurschenschaften were founded in the 19th century as associations of university students inspired by liberal and nationalistic ideas.\nThey were significantly involved in the March Revolution and the unification of Germany.\nAfter the formation of the German Empire in 1871, they faced a crisis, as their main political objective had been realized. So-called were established, but these were dissolved by the National Socialist regime in 1935/6. In West Germany, the were re-established in the 1950s, but they faced a renewed crisis in the 1960s and 1970s, as the mainstream political outlook of the German student movement of that period swerved to the radical left. Roughly 160 exist today in Germany, Austria and Chile.\n\nHistory\n\nOrigins\n\nThe very first one, called (\"original \"), was founded on June 12, 1815, at Jena as an association drawn from all German university students inspired by liberal and patriotic ideas. Like the Landsmannschaften or the Corps, a student association based on particular German region, the Burschenschaft members also engaged in duelling. However, its main purpose was to break down society lines and to destroy rivalry in the student body, to improve student life and increase patriotism. It was intended to draw its members from a broader population base than the Corps. Indeed, the group was known for its middle-class membership while the Corps' was mainly aristocratic. At first, a significant component of its membership were students who had taken part in the German wars of liberation against the Napoleonic occupation of Germany.\n\nIts motto was “honor, freedom, fatherland” (), and the original colors were red-black-red (what would become the national colours of Germany) with a golden oak leaves cluster, which might be based on the uniform of the Lützow Free Corps, being a corps of volunteer soldiers during the wars of liberation.\n\n19th century\nThe were student associations that engaged in numerous social activities. However, their most important goal was to foster loyalty to the concept of a united German national state as well as strong engagement for freedom, rights, and democracy. Quite often decided to stress extreme nationalist or sometimes also liberal ideas, leading in time to the exclusion of Jews, who were considered to be un-German. Nevertheless, all were banned as revolutionary by Klemens Wenzel von Metternich of Austria when he issued the reactionary Carlsbad Decrees in 1819.\n\nMany took part in the in 1832 and the democratic Revolution in 1848/49. After this revolution had been suppressed, plenty of leading , such as Friedrich Hecker and Carl Schurz, went abroad. After the foundation of the German Empire in 1871, the movement faced a severe crisis, as one major goal had been achieved to some extent: German unification. In the 1880s, a renaissance movement, the , led by the ideas of Küster, arose and many new were founded. It was also during this time until the 1890s when many members turned increasingly towards anti-Semitic outlook believing it provided an approach to achieving the fraternity's fundamental goal. Such members viewed the Jews as a problem that hampered the unification of Germany and the achievement of new values the organization advanced. There were members who resigned to protest a resolution adopted at an Eisenach meeting declaring that Burschenschaft \"have no Jewish members and do not plan to have any in the future.\"\n\nInterbellum and Nazi Germany\nIn 1935/36, most north of the Austrian Alps were dissolved by the Nazi government or transformed and fused with other into so-called (comradeships). Some Nazis (e.g. Ernst Kaltenbrunner) and Nazi opponents (Karl Sack, Hermann Kaiser) were members of . Theodor Herzl, an Austrian Jewish journalist who founded modern political Zionism, was also a member of a .\nHowever, he resigned two years after he joined because of the fraternity's antisemitism.\n\nPostwar\nWhile in communist East Germany were prohibited as representatives of a bourgeois attitude to be extinguished, in West Germany most were refounded in the 1950s. Some of them had to be transferred into other cities, since Germany had lost great parts of its territories after the Second World War, and many from East Germany also tried to find a new home. The allied victors had forbidden refounding originally, but this could not be upheld in a liberal surrounding. In the 1970s and 1980s, the , as many other student fraternities, underwent a crisis: a lack of new members and strong attacks by the leftist student community. In the 1990s many that had left Eastern Germany in the 1940s and 1950s returned to their traditional home universities in the East.\n\nToday\nRoughly 160 still exist today and many are organized in different organizations ranging from progressive to nationalistic. Among the latter is the Deutsche Burschenschaft organization (), which represents about a third of the . Others are organized in the , the () or the . While the still insists upon Fichte's idea of a German nation based on language, thought and culture, the favors defining Germany as the political Germany established by the German Basic Law (constitution) in 1949 and altered by the 1990 unification. Many are not organized at all since they do not see an organization that represents their values sufficiently.\n\nBecause of the German emigration into Chile in the late 19th century, there are also some in Chile, organized in the , in contact with the German and Austrian organizations.\nMost are , i.e. their members must sustain a number of . Academic fencing is still an important part of their self-understanding as well as political education.\n\nMany , often found in certain \"umbrella\" organisations (such as the ), are associated with right-wing or far-right ideas, in particular with the wish for a German state encompassing Austria.\nIn 2013 one Bonn fraternity proposed that only students of German origin should be eligible to join a . Reportedly half of member clubs threatened to leave in a row over proposed ID cards and a decision to label an opponent of Adolf Hitler a \"traitor\".\nMany of the that left the Deutsche Burschenschaft following this were later involved in the founding of a new organization, the\n\nNotable members\n\n Otto Abel (1824–1854)\n Erich Adickes (1866–1928)\n Victor Adler (1852–1918)\n Heinrich Ahrens (1808–1874)\n Wilhelm Altmann (1862–1951)\n Otto Antonius (1885–1945)\n Rudolf Arndt (1835–1900)\n Ludwig Arndts von Arnesberg (1803–1878)\n Jürgen Aschoff (1913–1998)\n Ludwig Aschoff (1866–1942)\nFriedrich Wilhelm Nietzsche (1844-1900)\n Berthold Auerbach (1812–1882)\n Hans von und zu Aufseß (1801–1872)\n Hermann Bahr (1863–1934)\n Franz Bäke (1898–1978)\n Erwin Bälz (1849–1913)\n Ludwig Bamberger (1823–1899)\n Dietrich Barfurth (1849–1927)\n Hermann Baumgarten (1825–1893)\n Karl Theodor Bayrhoffer (1812–1888)\n Ludwig Bechstein (1801–1860)\n Karl Isidor Beck (1817–1879)\n Hermann Heinrich Becker (1820–1885)\n Wilhelm Beiglböck (1905–1963)\n Hans Berger (1873–1941)\n Robert Bernardis (1908–1944)\n Georg Beseler (1809–1888)\n Max Bezzel (1824–1871)\n Adalbert Bezzenberger (1851–1922)\n Karl Biedermann (1812–1901)\n Helmut Bischoff (1908–1993)\n Karl Blind (1826–1907)\n Kurt Blome (1894–1969)\n Hans Blum (1841–1910)\n Robert Blum (1807–1848)\n Hans-Friedrich Blunck (1888–1961)\n Franz Boas (1858–1942)\n Otto Böckel (1859–1923)\n Ehrenfried-Oskar Boege (1889–1965)\n Ernst Wilhelm Bohle (1903–1960)\n Herbert Böhme (1907–1971)\n Carl Bosch (1874–1940)\n Erich Brandenburg (1868–1946)\n Rudolf Breitscheid (1874–1944)\n Heinrich Karl Brugsch (1827–1894)\n Alfred Buntru (1887–1974)\n Franz Josef Ritter von Buß (1803–1878)\n Paul Carell (1911–1997)\n Friedrich Wilhelm Carové (1789–1852)\n Moritz Carrière (1817–1895)\n Hans Gerhard Creutzfeldt (1885–1964)\n Johann Nepomuk Czermak (1828–1873)\n Adalbert Czerny (1863–1941)\n Kurt Daluege (1897–1946)\n Georg Friedrich Daumer (1800–1875)\n Eduard David (1863–1930)\n Kurt H. Debus (1908–1983)\n Richard Dedekind (1831–1916)\n Richard Dehmel (1863–1920)\n Franz Josef Delonge (1927–1988)\n Heinrich Dernburg (1829–1907)\n Paul Deussen (1845–1919)\n Ernst Dieffenbach (1811–1855)\n Kai Diekmann (born 1964)\n Eberhard Diepgen (born 1941)\n Martin Disteli (1802–1844)\n Anton von Doblhoff-Dier (1800–1872)\n Albert Döderlein (1860–1941)\n August Heinrich Hermann von Dönhoff (1797–1874)\n Max Dortu (1826–1849) \n August Dresbach (1894–1968) \n Henri Druey (1799–1855)\n Max Duncker (1811–1886)\n Irmfried Eberl (1910–1948)\n Victor von Ebner (1842–1925)\n Rudolf Eisenmenger (1902–1994)\n Adolf Erman (1854–1937)\n Abraham Esau (1884–1955)\n Hermann Esser (1900–1981)\n Rudolf Eucken (1846–1926)\n Otto Fahr (1892–1969)\n Johannes Falke (1823–1876)\n Ferdinand Falkson (1820–1900)\n Wilhelm Feddersen (1832–1918)\n Georg Fein (1803–1869)\n Friedrich Feuerbach (1806–1880)\n Karl Wilhelm Feuerbach (1800–1834)\n Julius von Ficker (1826–1902)\n Hans Fischer (1881–1945)\n Wilhelm Fleischmann (1837–1920)\n Walther Flemming (1843–1905)\n Walter Flex (1887–1917)\n Richard Foerster (1843–1922)\n August Ludwig Follen (1794–1855)\n Charles Follen (1796–1840)\n Paul Follen (1799–1844)\n August Föppl (1854–1924)\n Peter Wilhelm Forchhammer (1801–1894)\n Heinrich Förster (1800–1881)\n Karl Emil Franzos (1848–1904)\n Heinrich Friedjung (1851–1920)\n Ludwig Friedländer (1824–1909)\n Max Friedländer (1829–1872)\n Julius Fröbel (1805–1893)\n Emil Frommel (1828–1896)\n Reinhard Furrer (1940–1995)\n Friedrich von Gagern (1794–1848)\n Heinrich von Gagern (1799–1880)\n Max von Gagern (1810–1889)\n Jürgen Gansel (born 1974)\n Friedrich Heinrich Geffcken (1830–1896)\n Emanuel Geibel (1815–1884)\n Hans Geiger (1882–1945)\n Edgar von Gierke (1877–1945)\n Otto von Gierke (1841–1921)\n Gerd Gies (born 1943)\n Otto Gildemeister (1823–1902)\n Rudolf von Gneist (1816–1895)\n Friedrich Goltz (1834–1902)\n Heinrich Göppert (1800–1884)\n Rudolf von Gottschall (1823–1909)\n Adolf Gottstein (1857–1941)`\n Carl Graebe (1841–1927)\n Fritz Graebner (1877–1934)\n Martin Graf (born 1960)\n Maximilian Gritzner (1843–1902)\n Karl Groos (1861–1946)\n Bernhard von Gudden (1824–1886)\n Eugen Gura (1842–1906)\n Alfred Gürtler (1875–1933)\n Karl Gutzkow (1811–1878)\n Friedrich Haase (1808–1867)\n Karl Hagen (1810–1868)\n Jörg Haider (1950–2008)\n Adolf von Harleß (1806–1879)\n Wilhelm von Hartel (1839–1907)\n Karl Hase (1800–1890)\n Ludwig Hassenpflug (1794–1862)\n Wilhelm Hauff (1802–1827)\n Johann Hauler (1829–1888)\n Otto Haupt (1887–1988)\n Adolph Hausrath (1837–1909)\n Ludwig Häusser (1818–1867)\n Rudolf Haym (1821–1901)\n Johann Gustav Heckscher (1797–1865)\n Ernst Heinkel (1888–1958)\n Kurt Heißmeyer (1905–1967) \n Wolfgang Helbig (1839–1915) \n Fritz Hellwig (born 1912)\n Ernst Wilhelm Hengstenberg (1802–1869)\n Gottlieb August Herrich-Schäffer (1799–1874)\n Heinrich Hertz (1857–1894)\n Georg Herwegh (1817–1875)\n Theodor Herzl (1860–1904)\n William Hexamer (1825–1870)\n Eduard Heyck (1862–1941)\n Carl Hierholzer (1840–1871)\n Bruno Hildebrand (1812–1878)\n Franz Hilgendorf (1839–1904)\n Heinrich Himmler (1900–1945)\n Hans Hinkel (1901–1960)\n Hermann Höcherl (1912–1989)\n August Heinrich Hoffmann von Fallersleben (1798–1874)\n Norbert Hofer (born 1971)\n Otto Höfler (1901–1987)\n Johann Wilhelm Friedrich Höfling (1802–1853)\n Johann Christian Konrad von Hofmann (1810–1877)\n Robert Hohlbaum (1886–1955)\n Karl von Holtei (1798–1880)\n Gerd Honsik (born 1941)\n Hermann Höpker-Aschoff (1883–1954)\n Leslie Hore-Belisha, 1st Baron Hore-Belisha (1893–1957)\n Hermann von Ihering (1850–1930)\n Carl Ernst Jarcke (1801–1852)\n Karl Jarres (1874–1951)\n Curt Joël (1865–1945)\n Karl Jordan (1861–1959)\n Franz Jung (1888–1963)\n Philipp Wilhelm Jung (1884–1965)\n Rudolf Jung (1882–1945)\n Franz Joseph Damian Junghanns (1800–1875)\n Hugo Jury (1887–1945)\nPeter Kaiser (1793–1864)\n Ernst Kaltenbrunner (1903-1946)\n Lorenz Franz Kielhorn (1840-1908) \n Gustav Koerner (1809–1896)\n Friedrich Lange (1852–1917)\n Otto Lubarsch (1860–1933)\n Francis Lieber (1800–1871)\n Theodor Mommsen \n Hans Mühlenfeld (1901–1969)\n Henry Bradford Nason (1831–1895) \n Franz Overbeck (1837–1905) \n Heinz Reinefarth (1903-1979)\n Karl Sack (1896–1945)\n Karl Ludwig Sand (1795–1820)\n Carl Schurz (1829–1906)\n Otto Skorzeny (1908-1975)\n Lorenz von Stein\n Gustav Stresemann\n Adalbert J. Volck (1828–1912)\n\nSee also\nThe Revolutions of 1848 in the German states — ( were student groups which played a part in beginning of the Prussian Revolution)\nHep-Hep riots\nKarl Ludwig Sand\nDueling scars\n\nFurther reading\n\nExternal links\n\n Information on the \n English information about the\n\nReferences\n\nStudent societies in Germany\n1815 establishments in Germany"
] |
[
"Wilhelm Stekel",
"Theory of neurosis",
"What was Stekel's theory of neurosis?",
"In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms.",
"How did this differ from Freud's theory of neurosis?",
"the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams\".",
"What were some of Wilhelm's other ideas?",
"The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement."
] |
C_41830a18cada4f37937bf5c79464cb55_1
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What did he learn from Freud about neurosis?
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What did Stekel learn from Freud about neurosis?
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Wilhelm Stekel
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Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud. CANNOTANSWER
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CANNOTANSWER
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Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.
Early life
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood.
After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert, Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz.
From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there.
In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing.
Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894.
Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.
Career
Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.
Contributions to psychoanalytic theory
Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".
Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.
On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.
On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".
On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".
Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.
He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.
A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101
In popular culture
He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause. The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.
Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917). Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929). Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929). Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press
References
Further reading
External links
Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
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[
"Narcissistic neurosis is a term introduced by Sigmund Freud to distinguish the class of neuroses characterised by their lack of object relations and their fixation upon the early stage of libidinal narcissism. The term is less current in contemporary psychoanalysis, but still a focus for analytic controversy.\n\nFreud considered such neurosis as impervious to psychoanalytic treatment, as opposed to the transference neurosis where an emotional connection to the analyst was by contrast possible.\n\nFreud's changing ideas\nFreud originally applied the term \"narcissistic neurosis\" to a range of disorders, including perversion, depression, and psychosis. In the 1920s, however, he came to single out \"illnesses which are based on a conflict between the ego and the super-ego... we would set aside the name of 'narcissistic psycho-neuroses' for disorders of that kind\"—melancholia being the outstanding example.\n\nAbout the same time, in the wake of the work of Karl Abraham, he began to modify to a degree his view on the inaccessibility of narcissistic neurosis to analytic treatment. However his late lectures from the thirties confirmed his opinion of the unsuitability of narcissistic and psychotic conditions for treatment \"to a greater or less extent\"; as did his posthumous 'Outline of Psychoanalysis'.\n\nLater developments\nFrom the twenties onwards, Freud's views of the inaccessibility of the narcissistic neuroses to analytic influence had been challenged, first by Melanie Klein, and then by object relations theorists more broadly.\n\nWhile classical analysts like Robert Waelder would maintain Freud's delimiting standpoint into the sixties, eventually even within ego psychology challenges to the 'off-limits' view of what were increasingly seen as borderline disorders emerged.\n\nRelational psychoanalysis, like Heinz Kohut, would also take a more positive approach to narcissistic neurosis, emphasising the need for a partial or initial participation in the narcissistic illusions.\n\nIn retrospect, Freud's caution may be seen as a result of his unwillingness to work with the negative transference, unlike the post-Kleinians.\n\nSee also\n Charles Brenner\n Paul Federn\n Transference\n\nReferences\n\nFurther reading\n Karl Abraham, Selected Papers on Psycho-Analysis (New York 1979)\n\nExternal links \n Narcissistic neurosis\n\nPsychoanalytic terminology\nFreudian psychology\nNarcissism",
"Transference neurosis is a term that Sigmund Freud introduced in 1914 to describe a new form of the analysand's infantile neurosis that develops during the psychoanalytic process. Based on Dora's case history, Freud suggested that during therapy the creation of new symptoms stops, but new versions of the patient's fantasies and impulses are generated. He called these newer versions \"transferences\" and characterized them as the substitution of the analyst for a person from the patient's past. According to Freud's description: \"a whole series of psychological experiences are revived not as belonging to the past, but as applying to the person of the analyst at the present moment\". When transference neurosis develops, the relationship with the therapist becomes the most important one for the patient, who directs strong infantile feelings and conflicts towards the therapist, e.g. the patient may react as if the analyst is his/her father.\n\nBasic characteristics\n\nTransference neurosis can be distinguished from other kinds of transference because: \n It is very vivid and it rekindles the infantile neurosis.\n It is generated by the feelings of frustration that the analysand inevitably experiences during sessions, since the analyst does not fulfill the analysand's longings.\n In transference neurosis the symptoms are not stable, but they are transformed.\n Regression and repetition play a key role in the creation of transference neurosis.\n Transference neurosis reveals the particular meanings that the analysand has given to current infantile relationships and events, which generate internal conflicts between wishes and particular defenses formed to strive against them. These meanings are united and create several transference patterns.\n\nResolution\n\nOnce transference neurosis has developed, it leads to a form of resistance, called \"transference resistance\". At this point, the analysis of the transference becomes difficult since new obstacles arise in therapy, e.g. the analysand may insist on fulfilling the infantile wishes that emerged in transference, or may refuse to acknowledge that the current experience is, in fact, a reproduction of a past experience. However, the successful resolution of transference neurosis through interpretation will lead to the lifting of repression and will enable the Ego to solve the infantile conflicts in new ways. Furthermore, it will allow the analysand to recognize that the current relationship with the analyst is based on repetition of childhood experiences, leading to the detachment of the patient from the analyst.\n\nThe replacement of the infantile neurosis by transference neurosis and its resolution through interpretation remains the main focus of the classical psychoanalytic therapy. In other types of therapy, either the transference neurosis does not develop at all, or it does not play a central role in the therapy process. Although it is more likely for transference neurosis to develop in psychoanalysis, where the sessions are more frequent, it may also appear during psychotherapy.\n\nSee also\n\nReferences\n\nSources\n Sigmund Freud, \"Case Histories 1 – Dora and Little Hans\", The Penguin Freud Library, Volume 8, 1990.\n R. Horacio Etchegoyen, \"The Fundamentals of Psychoanalytic Technique\", Karnac Books, London, 1991.\n Richard D. Chessick, \"Psychoanalytic Peregrinations I: Transference and Transference Neurosis Revisited\", Journal of the American Academy of Psychoanalysis, 30(1), 83–97, 2002.\n W. W. Meissner, \"A Note on Transference and Alliance: I. Transference – Variations on a Theme\", Bulletin of the Menninger Clinic, Vol. 65, No. 2 (Spring 2001.\n \"Transference Neurosis\" International Dictionary of Psychoanalysis. The Gale Group, Inc, 2005. Answers.com http://www.answers.com/topic/transference-neurosis.\n \"Resolution of the Transference\" International Dictionary of Psychoanalysis. The Gale Group, Inc, 2005. Answers.com http://www.answers.com/topic/resolution-of-the-transference.\n Stephen A. Mitchell, Margaret J. Black: \"Freud and Beyond: a History of Modern Psychoanalytic Thought\". Basic Books, 1995.\n\nPsychoanalytic terminology\nFreudian psychology"
] |
[
"Wilhelm Stekel",
"Theory of neurosis",
"What was Stekel's theory of neurosis?",
"In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms.",
"How did this differ from Freud's theory of neurosis?",
"the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams\".",
"What were some of Wilhelm's other ideas?",
"The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.",
"What did he learn from Freud about neurosis?",
"I don't know."
] |
C_41830a18cada4f37937bf5c79464cb55_1
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What did Freud say about Stekel's theory?
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What did Freud say about Stekel's theory of neurosis?
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Wilhelm Stekel
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Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud. CANNOTANSWER
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"elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
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Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.
Early life
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood.
After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert, Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz.
From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there.
In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing.
Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894.
Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.
Career
Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.
Contributions to psychoanalytic theory
Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".
Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.
On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.
On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".
On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".
Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.
He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.
A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101
In popular culture
He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause. The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.
Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917). Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929). Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929). Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press
References
Further reading
External links
Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
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"Wish fulfillment is the satisfaction of a desire through an involuntary thought process. Wish fulfillment can occur in dreams or in daydreams, in the symptoms of neurosis, or in the hallucinations of psychosis. This satisfaction is often indirect and requires interpretation to recognize.\n\nSigmund Freud coined the term () in 1900 in an early text titled The Interpretation of Dreams. According to Freud, wish fulfillment occurs when unconscious desires are repressed by the ego and superego. This repression often stems from guilt and taboos imposed by society. Dreams are attempts by the unconscious to resolve some repressed conflict.\n\nFreud resisted subjecting his theories to scientific testing and verification, as did his followers. Freud rejected evidence against his theory in what his critics describe as an unscientific fashion. A patient of his once said she had a dream in which she spent time with her mother-in-law, and complained that wish fulfillment did not explain this dream, as she found her mother-in-law quite unpleasant; Freud responded her real wish must have been to disprove his theory. Freud's ideas about dream interpretation have been dropped as counterfactual or untestable by evidence-based psychologists in disciplines such as cognitive psychology.\n\nReferences\n\nBelief\nDream\nExistentialist concepts\nExistential therapy\nMagical thinking\nMotivation\nFreudian psychology",
"Freud's seduction theory () was a hypothesis posited in the mid-1890s by Sigmund Freud that he believed provided the solution to the problem of the origins of hysteria and obsessional neurosis. According to the theory, a repressed memory of an early childhood sexual abuse or molestation experience was the essential precondition for hysterical or obsessional symptoms, with the addition of an active sexual experience up to the age of eight for the latter.\n\nIn the traditional account of development of seduction theory, Freud initially thought that his patients were relating more or less factual stories of sexual mistreatment, and that the sexual abuse was responsible for many of his patients' neuroses and other mental health problems. Within a few years Freud abandoned his theory, concluding that the memories of sexual abuse were in fact imaginary fantasies.\n\nAn alternative account that has come to the fore in recent Freudian scholarship emphasizes that the theory, as posited by Freud, was that hysteria and obsessional neurosis result from unconscious memories of sexual abuse in infancy. In the three seduction theory papers published in 1896, Freud stated that with all his current patients he had been able to uncover such abuse, mostly below the age of four. These papers indicate that the patients did not relate stories of having been sexually abused in early childhood; rather, Freud used the analytic interpretation of symptoms and patients' associations, and the exerting of pressure on the patient, in an attempt to induce the \"reproduction\" of the deeply repressed memories he posited. Though he reported he had succeeded in achieving this aim, he also acknowledged that the patients generally remained unconvinced that what they had experienced indicated that they had actually been sexually abused in infancy. Freud's reports of the seduction theory episode went through a series of changes over the years, culminating in the traditional story based on his last account, in New Introductory Lectures on Psychoanalysis.\n\nFreud’s seduction theory\nOn the evening of April 21, 1896, Sigmund Freud presented a paper before his colleagues at the Society for Psychiatry and Neurology in Vienna, entitled \"The Aetiology of Hysteria\". Using a sample of 18 patients—male and female—from his practice, he concluded that all of them had been the victims of sexual assaults by various caretakers. The cause of the patient's distress lay in a trauma inflicted by an actor in the child's social environment. The source of internal psychic pain lay in an act inflicted upon the child from outside. This led to his well-known ‘seduction theory’.\n\nThe medical journals of that time did not report Freud's lecture. In the Wiener klinische Wochenschrift, published weekly in Vienna, on May 14, 1896, three papers were reported from the April 21 meeting (p. 420). Two of the papers were reported in the usual manner. Invariably, the practice was to give the title of a paper, a brief summary of its contents, and an account of the ensuing discussion. But in the citation of the last paper, there was a break with tradition. The report reads as follows: Docent Sigm. Freud: Über die Ätiologie der Hysterie (Sigmund Freud, lecturer: On the Aetiology of Hysteria.) There was no summary and no discussion. Freud published it a few weeks later in the Wiener klinische Rundschau.\n\nOn the other hand, Freud had no trouble publishing three papers on the subject in a matter of months. Doubt has been cast on the notion that the occurrence of child sexual abuse was not acknowledged by most of Freud's colleagues. It has been pointed out that they were skeptical about Freud's claims of one hundred percent confirmation of his theory, and would have been aware of criticisms that his suggestive clinical procedures were liable to produce findings of doubtful validity.\n\nFreud's seduction theory emphasizes the causative impact of nurture: the shaping of the mind by experience. This theory held that hysteria and obsessional neurosis are caused by repressed memories of infantile sexual abuse. Infantile sexual abuse, the root of all neurosis, is premature introduction of sexuality into the experience of the child. Trauma creates affects and thoughts that simply cannot be integrated. The adult who had a normal, non traumatic childhood is able to contain and assimilate sexual feelings into a continuous sense of self. Freud proposed that adults who experienced sexual abuse as a child suffer from unconscious memories and feelings incompatible with the central mass of thoughts and feelings that constitute his or her experience. Psychic disorders are a direct consequence of experiences that cannot be assimilated. Unconscious memories of infantile sexual abuse was a necessary condition for the development of certain disorders, hysteria in particular. But another condition had to be met: There had to be an unconscious memory of the abuse.\n\nFreud’s reported evidence for the seduction theory\nFreud had a lot of data as evidence for the seduction theory, but rather than presenting the actual data on which he based his conclusions (his clinical cases and what he had learned from them) or the methods he used to acquire the data (his psychoanalytic technique), he instead addressed only the evidence that the data he reportedly acquired were accurate (that he had discovered genuine abuse). He thought that the community could not yet handle the clinical case stories about sexual abuse. He did not want to present these stories before the seduction theory had become more accepted. Freud made several arguments to support the position that the memories he had uncovered were genuine. One of them was, according to Freud, that the patients were not simply remembering the events as they would normally forgotten material; rather they were essentially reliving the events, with all the accompanying painful sensory experiences.\n\nOn two occasions Freud wrote that he would be presenting the clinical evidence for his claims, but he never did so, which some critics have contended means that they have had to be taken largely on trust. Freud's clinical methodology at the time, involving the symbolic interpretation of symptoms, the use of suggestion and the exerting of pressure to induce his patients to \"reproduce\" the deeply repressed memories he posited, has led several Freud scholars and historians of psychology to cast doubt on the validity of his findings, whether of actual infantile abuse, or, as he later decided, unconscious fantasies.\n\nAbandonment of ‘seduction theory’\nFreud did not publish the reasons that led to his abandoning the seduction theory in 1897–1898. For these we have to turn to a letter he wrote to his confidant Wilhelm Fliess dated 21 September 1897. \nFirst, he referred to his inability to “bring a single analysis to a real conclusion” and \"the absence of complete successes\" on which he had counted. \nSecond, he wrote of his “surprise that in all cases, the father, not excluding my own, had to be accused of being perverse\" if he were to be able to maintain the theory; and the \"realization of the unexpected frequency of hysteria… whereas surely such widespread perversions against children are not very probable.\" \nThird, Freud referred to indications that, he argued, the unconscious is unable to distinguish fact from fiction. In the unconscious there is no sign of reality, so one cannot differentiate between the truth and the fiction invested with feeling. \nFourth, Freud wrote of his belief that in deep-reaching psychosis, unconscious memories do break through to the conscious, \"so the secret of childhood experiences is not disclosed even in the most confused delirium.\" (In the same letter Freud wrote that his loss of faith in his theory would remain known only to himself and Fliess, and in fact he did not make known his abandonment of the theory publicly until 1906.)\n\nThe collapse of the seduction theory led in 1897 to the emergence of Freud's new theory of infantile sexuality. The impulses, fantasies and conflicts that Freud claimed to have uncovered beneath the neurotic symptoms of his patients derived not from external contamination, he now believed, but from the mind of the child itself.\n\nThere were some serious negative consequences of this shift. The most obvious negative consequence was that a limited interpretation of Freud's theory of infantile sexuality would cause some therapists and others to deny reported sexual abuse as fantasy; a situation that has given rise to much criticism (e.g. The Freudian Coverup by social worker Florence Rush). However, without the rejection of the seduction theory, concepts such as the unconscious, repressions, the repetition compulsion, transference and resistance, and the unfolding psychosexual stages of childhood would never have been added to human knowledge.\n\nAn alternative view involves the recognition that the notion of unconscious mental processes was commonplace before Freud started writing on the subject. Moreover, the skepticism of almost all non-Freudian psychiatrists and psychologists towards Freud's psychosexual stages of childhood is that it is not consistent with much of current informed opinion.\n\nSee also\n Jean Laplanche, psychoanalyst and theorist who took up Freud's abandoned theory and developed his théorie de la séduction généralisée in 1987\n Emma Eckstein\n Auguste Ambroise Tardieu, French medical doctor and one of the first to examine and report sexual abuse in children\n The Assault on Truth by Jeffrey Moussaieff Masson\n The Freudian Coverup by Florence Rush\n In the Freud Archives by Janet Malcolm\n\nReferences\n\nFurther reading\n Cioffi, F. (1998 [1973]. Was Freud a liar? Freud and the Question of Pseudoscience. Chicago: Open Court, pp. 199–204.\n Kurt R. Eissler, Freud and the seduction theory: A brief love affair, New York: International Universities Press, 2001\n Robert Fliess, Symbol, Dream and Psychosis: Volume III Psychoanalytic Series, 1973\n Esterson, A. (1998). Jeffrey Masson and Freud's seduction theory: a new fable based on old myths. History of the Human Sciences, 11 (1), pp. 1–21. http://human-nature.com/esterson/\n Esterson, A. (2001). The mythologizing of psychoanalytic history: deception and self-deception in Freud's accounts of the seduction theory episode. History of Psychiatry, Vol. 12 (3), pp. 329-352.\n \n Freud, S. (1896a). Heredity and the aetiology of the neuroses. Standard Edition Vol. 3, 143-156.\n Freud, S. (1896b). Further remarks on the neuro-psychoses of defence. Standard Edition Vol. 3, 162-185.\n Freud, S. (1896c). The aetiology of hysteria. Standard Edition, Vol. 3, 191-221.\n Israëls, H. and Schatzman, M. (1993) The Seduction Theory. History of Psychiatry, iv: 23-59.\n Masson, J. M. (1984). The Assault on Truth: Freud's Suppression of the Seduction Theory. New York: Farrar, Straus and Giroux.\n Masson, J. M. (editor) (1985). The Complete Letters of Sigmund Freud to Wilhelm Fliess 1887-1904. ed. and trans. J. M. Masson. Cambridge, MA: Harvard University Press.\n Schimek, J. G. (1987). Fact and Fantasy in the Seduction Theory: a Historical Review. Journal of the American Psychoanalytic Association, xxxv: 937-65.\nWolff, Larry (1988 / 1995): Child Abuse in Freud's Vienna. New York: New York University Press. .\n\nExternal links \n\"Freud and Seduction Theory Reconsidered\"\n\"Interview with Larry Wolff on Freud and the Seduction Theory\"\n\nHistory of psychology\nFreudian psychology"
] |
[
"Wilhelm Stekel",
"Theory of neurosis",
"What was Stekel's theory of neurosis?",
"In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms.",
"How did this differ from Freud's theory of neurosis?",
"the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams\".",
"What were some of Wilhelm's other ideas?",
"The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.",
"What did he learn from Freud about neurosis?",
"I don't know.",
"What did Freud say about Stekel's theory?",
"\"elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate\"."
] |
C_41830a18cada4f37937bf5c79464cb55_1
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Did Stekel write about his theory of neurosis?
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Did Stekel write about Freud's theory of neurosis?
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Wilhelm Stekel
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Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud. CANNOTANSWER
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Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence
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Wilhelm Stekel (; 18 March 1868 – 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society.". However, a phrase used by Freud in a letter to Stekel, "the Psychological Society founded by you," suggests that the initiative was entirely Stekel's. Jones also wrote of Stekel that he was "a naturally gifted psychologist with an unusual flair for detecting repressed material." Freud and Stekel later had a falling-out, with Freud announcing in November 1912 that "Stekel is going his own way". Stekel's works are translated and published in many languages.
Early life
Stekel was born in 1868 in Boiany (Yiddish Boyan), Bukovina, then an eastern province of the Austro-Hungarian empire, but now divided between Ukraine in the north and Romania in the south. His parents, who were of mixed Ashkenazi and Sephardic background, were relatively poor, a fact which restricted his life choices. However, the fact that he later used "Boyan" as one of his noms de plume seems to corroborate his own account of a happy childhood.
After an abortive apprenticeship to a shoemaker, he completed his education, matriculating in 1887. He then enlisted as a "one-year-volunteer" with the 9th Company, Prince Eugen's Imperial Infantry Regiment No 41 in Czernowitz [today's Chernivtsi, Ukraine]. Under this scheme he was not obliged to do his military service until 1890, after completing the first part of his medical studies. He was therefore free to enrol at the University of Vienna in 1887, and studied under the eminent sexologist Richard von Krafft-Ebing, Theodor Meynert, Emil Zuckerkandl, (whose son would later marry Stekel's daughter, Gertrude), Ernst Wilhelm von Brücke, Hermann Notnagel, and Max Kassowitz.
From 1886 to 1896 Freud was head of the neurological department at the "1st Public Institute for Sick Children" (otherwise known as the Kassowitz Institute) of which Kassowitz had been the director since 1882. As Stekel worked at this institute during the summer semester of 1891, it seems probable that he knew about Freud then, and possibly was also introduced to him by one of the founder members of the Wednesday Psychological Society, Max Kahane, who also worked there.
In 1890 Stekel completed the first six months of required military training, which he described as "the most disagreeable period of my life." No doubt in part because of this experience, in 1891 Stekel attended the International Pacifist Convention in Bern, funded by the well-known peace activist Berta von Suttner, and founded a University Pacifists Club supported not only by von Suttner, but also by Krafft-Ebing.
Nevertheless, he was in such financial straits that at the instigation of his family he applied for a military scholarship. This bound him to another six years of service in the army, and also prohibited him from marrying until his release in 1897. He managed, however, by intentionally failing an examination and using a loophole in the regulations, to gain his release in 1894.
Thereafter Stekel opened a successful doctor's practice, while as a sideline, following the example of his elder brother, the journalist Moritz Stekel, wrote articles and pamphlets covering issues around health and disease. In 1895 Stekel wrote an article, "Coitus in Childhood" which Freud cited in an article on "The Aetiology of Hysteria" in 1896. The same year Stekel cited Freud in an article on migraine, which, however, did not appear until 1897.
Career
Stekel wrote a book called Auto-erotism: A Psychiatric Study of Onanism and Neurosis, first published in English in 1950. He is also credited with coining the term paraphilia to replace perversion. He analysed, among others, the psychoanalysts Otto Gross and A. S. Neill, as well as Freud's first biographer, Fritz Wittels. In his 1924 Freud biography, Wittels expressed his admiration for Stekel, to whose school he at that time adhered. This annoyed Freud who wrote in the margin of the copy of the book Wittels sent him 'Zu viel Stekel,' (Too much Stekel). Much later, Wittels, who by then had returned to the Freudian fold, still praised Stekel's "strange ease in understanding" but commented, "The trouble with Stekel's analysis was that it almost invariably reached an impasse when the so-called negative transference grew stronger". Stekel's autobiography was published posthumously in English in 1950.
Contributions to psychoanalytic theory
Theory of neurosis
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".
Considering obsessional doubts, Stekel said,In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".
Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '.<ref>Otto Fenichel, 'The Psychoanalytic Theory of Neurosis (London 1946) p. 224</ref> Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Contributions to the theory of fetishism and of perversion
Stekel contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3).
Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral “self”; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious “self” in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time.
In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".
Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.
On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
Freud's critique of Stekel's theory of the origin of phobias
In The Ego and the Id, Freud wrote of the "high-sounding phrase, 'every fear is ultimately the fear of death'" — associated with Stekel (1908) — that it "has hardly any meaning, and at any rate cannot be justified", evidence perhaps (as with psychic impotence and love/hate) of his continuing engagement with the thought of his former associate.
On technique
Stekel "was also an innovator in technique...devis[ing] a form of short-term therapy called active analysis which has much in common with some modern form of counselling and therapy".
On aesthetics
Stekel maintained that "in every child there slumbered a creative artist". In connection with the psychoanalytic examination of the roots of art, however, he emphasised that "...the Freudian interpretation, no matter how far it be carried, never offers even the rudest criterion of 'artistic' excellence...we are investigating only the impulse which drives people to create". Analyzing the dreams of artists and non-artists alike, Stekel pointed out that "at the level of symbol production the poet does not differ from the most prosaic soul...Is it not remarkable that the great poet Goethe and the unknown little woman...should have constructed such similar dreams?".
Personal life
Stekel committed suicide in London by taking an overdose of Aspirin "to end the pain of his prostate and the diabetic gangrene". He was cremated at Golders Green Crematorium on 29 June 1940. His ashes lie in section 3-V of the Garden of Remembrance but there is no memorial.
He was married twice and left two children. Stekel's autobiography was published posthumously, edited by his former personal assistant Emil Gutheil and his wife Hilda Binder Stekel. She died in 1969.
A biographical account appeared in The Self-Marginalization of Wilhem Stekel (2007) by Jaap Bos and Leendert Groenendijk, which also includes his correspondence with Sigmund Freud. See also L. Mecacci, Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe, Vagabond Voices 2009, pp. 101
In popular culture
He is referenced in the episodes 22 and 26 of Ghost in the Shell: Stand Alone Complex.
A quote attributed to Stekel ("The mark of the immature man is that he wants to die nobly for a cause. The mark of the mature man is that he wants to live humbly for one.") is referenced in The Catcher in the Rye by J.D. Salinger. Cited by a character in the novel as a statement of Stekel's, it has sometimes been attributed to Salinger and may indeed be his paraphrase of a statement by the German writer Otto Ludwig (1813-1865), which Stekel himself has quoted in his writings: "Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." Cf. q:Wilhelm Stekel#Misattributed.
Selected publications
Stekel W. (1911). Die Sprache des Traumes: Eine Darstellung der Symbolik und Deutung des Traumes in ihren BezeihungenStekel W. (1911). Sexual Root of Kleptomania. J. Am. Inst. Crim. L. & CriminologyStekel W. (1917). Nietzsche und Wagner, eine sexualpsychologische Studie zur Psychogenese des Freundschaftsgefühles und des FreundschaftsverratesStekel W. (1921). The beloved ego, foundations of the new study of the psyche
Stekel W. (1921) The depths of the soul; psycho-analytical studies
Stekel W. (1922). Compulsion and Doubt (Zwang und Zweifel) Liveright
Stekel W. (1922). Disguises of love ; psycho-analytical sketches
Stekel W. (1922). The Homosexual Neuroses
Stekel W. (1922). Bi-sexual love; the homosexual neurosis (2003 reprint: Bisexual Love. Fredonia)
Stekel W. (1922). Sex and dreams; the language of dreams
Stekel W. (1926). Frigidity in women Vol. II. Grove Press
Stekel W., Boltz O.H. (1927). Impotence in the Male: The Psychic Disorders of Sexual Function in the Male. Boni and Liveright
Stekel W., Van Teslaar J.S. (1929). Peculiarities of Behavior: Wandering Mania, Dipsomania, Cleptomania, Pyromania and Allied Impulsive Disorders. H. Liveright
Stekel W. (1929). Sadism and Masochism: The Psychology of Hatred and Cruelty. Liveright
Stekel W. (1943). The Interpretation of Dreams: New Developments and Technique. Liveright
Stekel W., Gutheil E. (1950). The Autobiography of Wilhelm Stekel. Liveright
Stekel W., Boltz O.H. (1950). Technique of Analytical Psychotherapy. Live right
Stekel W. (1952). Disorders of the Instincts and the Emotions -- The Parapathaic Disorders, Vol. 1 and Sexual Aberrations -- The Phenomena of Fetishism in Relation to Sex, Volume 2. (Two volumes in one.) Liveright
Stekel W., Boltz O.H. (1999 reprint). Conditions of Nervous Anxiety and Their TreatmentStekel W. (1952). Patterns of Psychosexual Infantilism Grove Press Books and Evergreen Books
Stekel W. (1961). Auto-erotism: a psychiatric study of masturbation and neurosis''. Grove Press
References
Further reading
External links
Wilhelm Stekel's article "Poetry and Neurosis. Psychology of the Artist", Heksis 2/2010
Kazimierz Dąbrowski "Remarks on Wilhelm Stekel's Active Psychoanalysis", Heksis 2/2010
1868 births
1940 deaths
1940 suicides
People from Novoselytsia Raion
Austrian Jews
Austrian psychologists
Freudians
Austrian sexologists
Austrian psychoanalysts
History of psychiatry
Suicides in London
Jewish psychoanalysts
Austrian emigrants to the United Kingdom
Drug-related suicides in England
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"Emil Arthur Gutheil (January 21, 1889 – July 7, 1959) was a Polish-American psychiatrist specializing in human sexuality, music therapy, and psychoanalysis. He was a founder of the Association for the Advancement of Psychotherapy and editor of the American Journal of Psychotherapy.\n\nLife and career\nGutheil was born in Poland and educated at the University of Vienna. He was neuro-psychiatrist at the University Clinic and served as personal assistant to Wilhelm Stekel. He co-founded the Active-analytic Clinic in Vienna, but emigrated with his wife to the United States in the late 1930s, fearing Nazi persecution. He served at the psychiatric clinic of Mount Sinai Hospital, New York. Gutheil edited Stekel's autobiography.\n\nGutheil died in New York City following a heart attack. The Gutheil Library at Baruch College and the Gutheil Memorial Conference of the Association for the Advancement of Psychotherapy are named in his honor.\n\nSelected publications\nGutheil EA (1930). An analysis of a case of transvestism. In Stekel, Sexual Aberrations; the Phenomenon of Fetishism in Relation to Sex. Liveright, pp. 345–351.\nGutheil EA (1934). Analysis of a Case of Migraine. Psychoanalytic Review, 21:272-299\nGutheil EA (1939). The Language of the Dream. M.D. New York - The Macmillan Company.\nGutheil EA (1944). Psychoanalysis and brief psychotherapy. J. Clin. Psychopath. & Psychotherapy, vol. VI, pp. 207–230.\nGutheil EA (1947). Occupational neurosis in a musician. Am J Psychother. 1947 Oct;1(4):448-67. \nGutheil EA (1947). A rare case of sadomasochism. Am J Psychother. 1947 Jan;1(1):87-92. \nGutheil EA (1948). Dream and suicide. Am J Psychother. 1999 Spring;53(2):246-57. \nGutheil EA (1948). Training in psychotherapy. Am J Psychother. 1948 Oct;2(4):676-89. \nGutheil EA (1949). On the margin. Am J Psychother. 1949 Jul;3(3):430-3. \nGutheil EA (1951). The handbook of dream analysis. Liveright. 1970 reprint \nStekel W, Gutheil EA, eds. (1952). Patterns of psychosexual infantilism. Liveright, \nGutheil EA (1952). Music and your emotions. Liveright. 1970 reprint \nGutheil EA (1952). Does psychotherapy dormant psychoses? Am J Psychother. 1952 Oct;6(4):673-6. \nGutheil EA (1954). Music as adjunct to psychotherapy. Am J Psychother. 1954 Jan;8(1):94-109. \nGutheil EA (1954). The psychologic background of transsexualism and transvestism. Am J Psychother. 1954 Apr;8(2):231-9. \nGutheil EA (1955). Current trends in psychotherapy. J Med Soc N J. 1955 Nov;52(11):580-5. \nGutheil EA (1955). Pseudoneurotic forms of depressive psychosis. Am J Psychother. 1955 Oct;9(4):719-36. \nGutheil EA (1958). Public education in preventive psychiatry. Am J Psychother. 1958 Oct;12(4):826-30. \nGutheil EA (1958). Dreams as an aid in evaluating ego strength. Am J Psychother. 1958 Apr;12(2):338-57. \nGutheil EA (1959). Reactive depressions. Reactive depressions. In S. Arieti (Ed.), American handbook of psychiatry, Vol. 1. New York: Basic Books, 1959.\nGutheil EA (1959). Problems of therapy in obsessive-compulsive neurosis. Am J Psychother. 1959 Oct;13:793-808. \nStekel W, Gutheil EA, Wertham F, van Teslaar JS (1961). Auto-erotism: a psychiatric study of masturbation and neurosis. Grove Press\nGutheil EA (1962). The exhibitionism of Jean Jacques Rousseau. An abstract of Stekel's analysis. Am J Psychother. 1962 Apr;16:266-77.\n\nReferences\n\nExternal links\nPCMH History: Gutheil Library via Baruch College\n\n1889 births\n1959 deaths\nUniversity of Vienna alumni\nPolish emigrants to the United States\nPolish psychiatrists\nAmerican psychiatrists",
"Éric-Paul Stekel, (born Erich Stekel in Vienna on 27 June 1898, died in Grenoble on 11 February 1978) was a French composer and conductor of Austrian origin, former director of the Conservatory of Grenoble.\n\nHe worked with piano teacher Félicien Wolff, whom he strongly encouraged his composition work, and he worked also with pianist Genevieve Dinand and with musicologist Paul-Gilbert Langevin, participating in his works, Le siècle de Bruckner and Anton Bruckner, apogée de la symphonie. There is an association in Grenoble called The friends of Éric-Paul Stekel.\n\nHe was the son of Viennese psychoanalyst Wilhelm Stekel.\n\nReferences\n\n1898 births\n1978 deaths\nFrench male conductors (music)\nFrench male composers\nFrench people of Austrian-Jewish descent\nPeople from Grenoble\n20th-century French conductors (music)\n20th-century French male musicians"
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What was Naming and Terminology?
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What was Powhatan going by Naming and Terminology ?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh.
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
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"The name \"Powhatan\" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh."
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When was it created?
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When was Powhatan created?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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CANNOTANSWER
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
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"Baron Hervey is an aristocratic title that has been created three times, once in the Peerage of Ireland and twice in the Peerage of England. \n\nThe first creation was in the Peerage of Ireland in 1620, when Sir William Hervey, 1st Baronet, was made Baron Hervey, of Rosse in County Wexford. He had been created Baronet of St. Martin's in the Fields on 31 May 1619. \n\nThe second creation was in 1628, when the same William Hervey was also made Baron Hervey, of Kidbrooke, Kent, in the Peerage of England. When William Hervey died in 1642, both titles became extinct.\n\nThe third creation came in 1703 in the Peerage of England, when John Hervey was made Baron Hervey, of Ickworth, Suffolk. John Hervey was a second cousin thrice removed of William Hervey and was later created Earl of Bristol.\n\nBaron Hervey (1620, 1628)\nWilliam Hervey, 1st Baron Hervey (died 1642)\n\nBarons Hervey (1703)\nSee Marquess of Bristol\n\nReferences\n\nExtinct baronies in the Peerage of Ireland\nExtinct baronies in the Peerage of England\nBaronies in the Peerage of England\n1620 establishments in Ireland\n1628 establishments in England\n1703 establishments in England\n1642 disestablishments in Ireland\n1642 disestablishments in England\nNoble titles created in 1620\nNoble titles created in 1628\nNoble titles created in 1703",
"When the Spanish Air Force was created in 1940, an anthem was created, but was changed in 1967 to what is currently sung today. It was created by José María Pemán and Ricardo Dorado and was chosen among 198 other works presented to a competition call by the Spanish Air Ministry.\n\nSee also \nSpanish Air Force\n\nExternal links \nSpanish Air Force Anthem (Unofficial site)\nMP3 file\n\n1967 compositions\nSpanish military marches\nSpanish Air Force\nSongs about aviation"
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[
"Powhatan",
"Naming and terminology",
"What was Naming and Terminology?",
"The name \"Powhatan\" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh.",
"When was it created?",
"I don't know."
] |
C_f4adf9c3144744cb849c1a908f7e374c_1
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What terminology was used?
| 3 |
What terminology was used for Powhatan?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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"Powhatan" was also the name used by the natives to refer to the river
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
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[
"A toe punt (also known as a toe poker or a toe-ender) is a method of kicking the ball in association football. Unlike other methods of kicking, the toe punt uses the toe end of the boot rather than the instep or laces.\n\nToe punts (known as \"straight-on\" or \"straight-toe\") were the predominant form of kicking for placekickers in gridiron-based forms of football until the 1960s. A special boot was used with a flat front surface, as using a toe kick with a regular shoe with a rounded or pointed toe could cause the ball to travel in an unpredictable direction. The introduction of instep kicking (known as the \"soccer-style kick\") to the game in the 1960s, along with a rule change in 1977 banning the special shoe (one of several rules introduced to curb the influence of kickers in the game), eventually led to the end of the use of toe kicks in American and Canadian football.\n\nNotable toe punts\nThe toe poke is deemed to be Romário’s trademark finish. His opening goal in a hat-trick for Barcelona against Real Madrid in 1994 saw him drag the ball around the defender without it leaving his foot before finishing with a toe-poke into the corner of the net. Another memorable Romário toe poke finish occurred at the 1994 World Cup against Sweden.\nRonaldo scored what he called “a Romário style goal” for Brazil against Turkey in the 2002 World Cup semi-final with a toe-poke finish with little back-lift while on the run – a finish he learned while playing futsal in his youth.\nRonaldinho scored with a spectacular toe-poke for FC Barcelona against Chelsea in 2005 where he feinted to shoot before striking the ball with a no back-lift toe-poke past Chelsea goalkeeper Petr Čech from 20 yards out.\nOscar scored for Brazil with a toe-poke in the opening match of the 2014 World Cup against Croatia, before paying tribute to the master of the art in a post-game press conference, “It was a Romário goal. Most of us in the team have played futsal, where you use the toe a lot. It was the only thing I could do at that moment.”\n\nSee also\n\nShooting\n\nReferences \n\nTerminology used in multiple sports\nAssociation football terminology\nAmerican football terminology\nAustralian rules football terminology\nCanadian football terminology\nRugby league terminology\nRugby union terminology",
"In ancient English law-books, the phrase \"contramandatio placiti\" signifies a respiting, or giving the defendant more time to answer; or, an imparlance, or countermanding of what was formerly ordered.\n\nReferences\n\nEnglish legal terminology"
] |
[
"Powhatan",
"Naming and terminology",
"What was Naming and Terminology?",
"The name \"Powhatan\" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh.",
"When was it created?",
"I don't know.",
"What terminology was used?",
" \"Powhatan\" was also the name used by the natives to refer to the river"
] |
C_f4adf9c3144744cb849c1a908f7e374c_1
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Did it have any other meaning?
| 4 |
Other than just a name, Did Powhatan have any other meaning?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later,
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
| true |
[
"Psychai are the diminutive, winged shades of the dead in Greek mythology and some fifth century BC funerary lekythoi. Although commonly translated as \"soul\" today, in the epics of Homer it meant \"life\" and did not have any connection to consciousness or psychological functions in the living. It is only later, at the end of the fifth century BC in the works of other poets such as Pindar, that the word acquires its meaning relating to being the principal seat of intellect, emotion, and will. From there, it became possible to translate psyche as \"heart\" or \"soul\".\n\nSee also\n Soul\n Spirit\n\nReferences\n\nGreek ghosts\nHeart\nVitalism",
"Brachybacterium is a genus of Gram positive, nonmotile bacteria. The cells are coccoid during the stationary phase, and irregular rods during the exponential phase. The genus name comes from Greek word brachy, meaning short, and Latin bacterium, meaning rods, referencing the short rods noted during the exponential phase.\n\nThe type strain of the genus, Brachybacterium faecium, was first isolated from poultry deep litter in 1966 along with several other species. Speciation of the strains was performed in 1975, but three of the strains did not cluster with any known taxon. In 1988, further work was performed on the previously unclassified organisms, and the current genus was proposed. Brachybacteria have been isolated from a stool sample of a healthy three-year-old girl, garden soil, Beaufort cheese, medieval wall paintings, a mouse liver, roots, salt fermented seafood, oil-contaminated coastal sand, sediment samples, and seawater. A strain of Brachybacterium has been indicated as the cause of bloodborne infection in an 83 year-old man.\n\nReferences\n\nGram-positive bacteria\nBacteria genera"
] |
[
"Powhatan",
"Naming and terminology",
"What was Naming and Terminology?",
"The name \"Powhatan\" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh.",
"When was it created?",
"I don't know.",
"What terminology was used?",
" \"Powhatan\" was also the name used by the natives to refer to the river",
"Did it have any other meaning?",
" Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later,"
] |
C_f4adf9c3144744cb849c1a908f7e374c_1
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Was anything else created?
| 5 |
In addition to Powhatan, Was anything else similar created?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
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[
"Powhatan",
"Naming and terminology",
"What was Naming and Terminology?",
"The name \"Powhatan\" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh.",
"When was it created?",
"I don't know.",
"What terminology was used?",
" \"Powhatan\" was also the name used by the natives to refer to the river",
"Did it have any other meaning?",
" Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later,",
"Was anything else created?",
"The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg."
] |
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Was there anything else interesting in the article?
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Besides Powhatan, Was there anything else interesting in the article on naming?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village.
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
| 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",
"\"How Interesting: A Tiny Man\" is a 2010 science fiction/magical realism short story by American writer Harlan Ellison. It was first published in Realms of Fantasy.\n\nPlot summary\nA scientist creates a tiny man. The tiny man is initially very popular, but then draws the hatred of the world, and so the tiny man must flee, together with the scientist (who is now likewise hated, for having created the tiny man).\n\nReception\n\"How Interesting: A Tiny Man\" won the 2010 Nebula Award for Best Short Story, tied with Kij Johnson's \"Ponies\". It was Ellison's final Nebula nomination and win, of his record-setting eight nominations and three wins.\n\nTor.com calls the story \"deceptively simple\", with \"execution (that) is flawless\" and a \"Geppetto-like\" narrator, while Publishers Weekly describes it as \"memorably depict(ing) humanity's smallness of spirit\". The SF Site, however, felt it was \"contrived and less than profound\".\n\nNick Mamatas compared \"How Interesting: A Tiny Man\" negatively to Ellison's other Nebula-winning short stories, and stated that the story's two mutually exclusive endings (in one, the tiny man is killed; in the other, he becomes God) are evocative of the process of writing short stories. Ben Peek considered it to be \"more allegory than (...) anything else\", and interpreted it as being about how the media \"give(s) everyone a voice\", and also about how Ellison was treated by science fiction fandom.\n\nReferences\n\nExternal links\nAudio version of ''How Interesting: A Tiny Man, at StarShipSofa\nHow Interesting: A Tiny Man, at the Internet Speculative Fiction Database\n\nNebula Award for Best Short Story-winning works\nShort stories by Harlan Ellison"
] |
[
"Powhatan",
"Naming and terminology",
"What was Naming and Terminology?",
"The name \"Powhatan\" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh.",
"When was it created?",
"I don't know.",
"What terminology was used?",
" \"Powhatan\" was also the name used by the natives to refer to the river",
"Did it have any other meaning?",
" Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later,",
"Was anything else created?",
"The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.",
"Was there anything else interesting in the article?",
"the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village."
] |
C_f4adf9c3144744cb849c1a908f7e374c_1
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Does it have any special meaning?
| 7 |
Does Powhatan have any special meaning?
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Powhatan
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The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsunacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site. "Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles. Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg. Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in May 1777. CANNOTANSWER
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The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site.
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The Powhatan people (; also spelled Powatan) may refer to any of the indigenous Algonquian people that are traditionally from eastern Virginia. All of the Powhatan groups descend from the Powhatan Confederacy. In some instances, The Powhatan may refer to one of the leaders of the people. This is most commonly the case in historical writings by the English. The Powhatans have also been known as Virginia Algonquians, as the Powhatan language is an eastern-Algonquian language, also known as Virginia Algonquian. It is estimated that there were about 14,000–21,000 Powhatan people in eastern Virginia, when the English colonized Jamestown in 1607.
In the late 16th and early 17th centuries, a mamanatowick (paramount chief) named Wahunsenacawh created an organization by affiliating 30 tributary peoples, whose territory was much of eastern Virginia. They called this area Tsenacommacah ("densely inhabited Land"). Wahunsenacawh came to be known by the English as "The Powhatan (Chief)". Each of the tribes within this organization had its own weroance (leader, commander), but all paid tribute to The Powhatan (Chief).
After Wahunsenacawh's death in 1618, hostilities with colonists escalated under the chiefdom of his brother, Opchanacanough, who sought in vain to drive off the encroaching English. His large-scale attacks in 1622 and 1644 met strong reprisals by the English, resulting in the near elimination of the tribe. By 1646, what is called the Powhatan Paramount Chiefdom by modern historians had been decimated. More important than the ongoing conflicts with the English settlements was the high rate of deaths the Powhatan suffered due to new infectious diseases carried to North America by Europeans, such as measles and smallpox. The Native Americans did not have any immunity to these, which had been endemic in Europe and Asia for centuries. The wholesale deaths greatly weakened and hollowed out the Native American societies.
By the mid-17th century, the leaders of the colony were desperate for labor to develop the land. Almost half of the English and European immigrants arrived as indentured servants. As settlement continued, the colonists imported growing numbers of enslaved Africans for labor. By 1700, the colonies had about 6,000 black slaves, one-twelfth of the population. It was common for black slaves to escape and join the surrounding Powhatan; some white servants were also noted to have joined the Natives. Africans and Europeans worked and lived together; some natives also intermarried with them. After Bacon's Rebellion in 1676, the colony enslaved Indians for control. In 1691, the House of Burgesses abolished native slavery; however, many Powhatan were held in servitude well into the 18th century.
In the 21st century, eight Native tribes are officially recognized by Virginia as having ancestral ties to the Powhatan confederation. The Pamunkey and Mattaponi are the only two peoples who have retained reservation lands from the 17th century. The competing cultures of the Powhatan and English settlers were united through unions and marriages of members, the most well known of which was that of Pocahontas and John Rolfe. Their son Thomas Rolfe was the ancestor of many Virginians; many of the First Families of Virginia have both English and Virginia Algonquian ancestry.
Some survivors of the Powhatan confederacy have relocated elsewhere. Beginning in the late 19th century, individual people identifying collectively as the Powhatan Renape Nation settled a tiny subdivision known as Morrisville and Delair, in Pennsauken Township, New Jersey. Their ancestry is mostly from the Rappahannock tribe of Virginia and the related Nanticoke tribe of Delaware. They have been recognized as a tribe by the state of New Jersey.
Naming and terminology
The name "Powhatan" (also transcribed by Strachey as Paqwachowng) is the name of the native village or town of Wahunsenacawh. The title "Chief" or "King" Powhatan, used by the English is believed to have been derived from the name of this site. Although the specific site of his home village is unknown, in modern times the Powhatan Hill neighborhood in the East End portion of the modern-day city of Richmond, Virginia is thought by many to be in the general vicinity of the original village. Tree Hill Farm, which is situated in nearby Henrico County a short distance to the east, is also considered as the possible site.
"Powhatan" was also the name used by the natives to refer to the river where the town sat at the head of navigation. The English colonists chose to name it for their own leader, King James I. The English colonists named many features in the early years of the Virginia Colony in honor of the king, as well as for his three children, Elizabeth, Henry, and Charles.
Although portions of Virginia's longest river upstream from Columbia were much later named for Queen Anne of Great Britain, in modern times, it is called the James River. It forms at the confluence of the Jackson and Cowpasture rivers near the present-day town of Clifton Forge, flowing east to Hampton Roads. (The Rivanna River, a tributary of the James River, and Fluvanna County, were named in reference to Queen Anne). The only water body in Virginia to retain a name related to the Powhatan peoples is Powhatan Creek, located in James City County near Williamsburg.
Powhatan County and its county seat at Powhatan, Virginia were honorific names established years later, in locations west of the area populated by the Powhatan peoples. The county was formed in March 1777.
History
Complex paramount chiefdom
Various tribes each held some individual powers locally, and each had a chief known as a weroance (male) or, more rarely, a weroansqua (female), meaning "commander".
As early as the era of John Smith, the individual tribes of this grouping were clearly recognized by the English as falling under the greater authority of the centralized power led by the chiefdom of Powhatan (c. June 17, 1545 – c. 1618), whose proper name was Wahunsenacawh or (in 17th century English spelling) Wahunsunacock.
At the time of the 1607 English Settlement at Jamestown, he ruled primarily from Werowocomoco, which was located on the northern shore of the York River. This site of Werowocomoco was rediscovered in the early 21st century; it was central to the tribes of the confederacy. The improvements discovered at the site during archaeological research have confirmed that Powhatan had a paramount chiefdom over the other tribes in the power hierarchy. Anthropologist Robert L. Carneiro in his The Chiefdom: Precursor of the State. The Transition to Statehood in the New World (1981), deeply explores the political structure of the chiefdom and confederacy.
Powhatan (and his several successors) ruled what is called a complex chiefdom, referred to by scholars as the Powhatan Paramount Chiefdom. Research work continues at Werowocomoco and elsewhere that deepens understanding of the Powhatan world.
Powhatan builds his chiefdom
Wahunsenacawh had inherited control over six tribes, but dominated more than thirty by 1607, when the English settlers established their Virginia Colony at Jamestown. The original six tribes under Wahunsenacawh were: the Powhatan (proper), the Arrohateck, the Appamattuck, the Pamunkey, the Mattaponi, and the Chiskiack.
He added the Kecoughtan to his fold by 1598. Some other affiliated groups included the Rappahannocks, Moraughtacund, Weyanoak, Paspahegh, Quiyoughcohannock, Warraskoyack, and Nansemond. Another closely related tribe of the same language group was the Chickahominy, but they managed to preserve their autonomy from the Powhatan Paramount Chiefdom. The Accawmacke, located on the Eastern Shore across the Chesapeake Bay, were nominally tributary to the Powhatan Chiefdom, but enjoyed autonomy under their own Paramount Chief or "Emperor", Debedeavon (aka "The Laughing King"). There were half a million Native Americans living within the Allegheny Mountains around the year 1600. 30,000 of those 500,000 lived in the Chesapeake region under Powhatan’s rule, by 1677 only five percent of his population remained. The huge jump in deaths were caused by exposure and contact with Europeans.
In his Notes on the State of Virginia (1781–82), Thomas Jefferson estimated that the Powhatan Confederacy occupied about of territory, with a population of about 8,000 people, of whom 2400 were warriors. Later scholars estimated the total population of the paramountcy as 15,000.
English settlers in the land of the Powhatan
The Powhatan Confederacy was where the English made their first permanent settlement in North America. Conflicts began immediately between the Powhatan people and the English; the English colonists fired shots as soon as they arrived (due to a bad experience they had with the Spanish prior to their arrival). Within two weeks of the English arrival at Jamestown, deaths had occurred.
The settlers had hoped for friendly relations and had planned to trade with the Virginia Indians for food. Captain Christopher Newport led the first English exploration party up the James River in 1607, when he met Parahunt, weroance of the Powhatan proper. The English initially mistook him for the paramount Powhatan (mamanatowick), his father Wahunsenacawh, who ruled the confederacy. Settlers coming into the region needed to befriend as many Native Americans as possible due to the unfamiliarity with the land. Not too long after settling down, they had realized the huge potential for tobacco. In order to grow more and more tobacco, they had to impede on native territory. There were immediate issues result in 14 years of warfare.
On a hunting and trade mission on the Chickahominy River in December 1607, Captain John Smith fought a small battle between the Opechancanough, and during this battle he tied his native guide to his body and used him as a human shield. Although Smith was wounded in the leg, and also had many arrows in his clothing he was not deathly injured, soon after he was captured by the Opechancanough. After Smith was captured the Natives had him ready for execution until he gave them a compass which they saw as a sign of friendliness so they did not kill him, instead took him to a more popular chief, followed by a ceremony. Smith first was introduced to Powhaten's brother, which was a chief under Powhaten to run a smaller portion of the tribe. Later Smith was introduced to Powhaten himself. was captured by Opechancanough, the younger brother of Wahunsenacawh. Smith became the first Englishman to meet the paramount chief Powhatan. According to Smith's account, Pocahontas, Chief Powhatan's daughter, prevented her father from executing Smith.
Some researchers have asserted that a mock execution of Smith was a ritual intended to adopt Smith into the tribe, but other modern writers dispute this interpretation. They point out that nothing is known of 17th-century Powhatan adoption ceremonies. They note that an execution ritual is different from known rites of passage. Other historians, such as Helen Rountree, have questioned whether there was any risk of execution. They note that Smith failed to mention it in his 1608 and 1612 accounts, and only added it to his 1624 memoir, after Pocahontas had become famous.
In 1608, Captain Newport realized that Powhatan's friendship was crucial to the survival of the small Jamestown colony. In the summer of that year, he tried to "crown" the paramount Chief, with a ceremonial crown, to make him an English "vassal". They also gave Powhatan many European gifts, such as a pitcher, feather mattress, bed frame, and clothes. The coronation went badly because they asked Powhatan to kneel to receive the crown, which he refused to do. As a powerful leader, Powhatan followed two rules: "he who keeps his head higher than others ranks higher," and "he who puts other people in a vulnerable position, without altering his own stance, ranks higher." To finish the "coronation", several English had to lean on Powhatan's shoulders to get him low enough to place the crown on his head, as he was a tall man. Afterwards, the English might have thought that Powhatan had submitted to King James, whereas Powhatan likely thought nothing of the sort.
After John Smith became president of the colony, he sent a force under Captain Martin to occupy an island in Nansemond territory and drive the inhabitants away. At the same time, he sent another force with Francis West to build a fort at the James River falls. He purchased the nearby fortified Powhatan village (present site of Richmond, Virginia) from Parahunt for some copper and an English servant named Henry Spelman, who wrote a rare firsthand account of the Powhatan ways of life. Smith then renamed the village "Nonsuch", and tried to get West's men to live in it. Both these attempts at settling beyond Jamestown soon failed, due to Powhatan resistance. Smith left Virginia for England in October 1609, never to return, because of an injury sustained in a gunpowder accident. Soon afterward, the English established a second fort, Fort Algernon, in Kecoughtan territory.
Anglo-Powhatan Wars and treaties
In November 1609, Captain John Ratcliffe was invited to Orapakes, Powhatan's new capital. After he had sailed up the Pamunkey River to trade there, a fight broke out between the colonists and the Powhatan. All of the English ashore were killed, including Ratcliffe, who was tortured by the women of the tribe. Those aboard the pinnace escaped and told the tale at Jamestown.
During that next year, the tribe attacked and killed many Jamestown residents. The residents fought back, but only killed twenty. However, arrival at Jamestown of a new Governor, Thomas West, 3rd Baron De La Warr, (Lord Delaware) in June 1610 signalled the beginning of the First Anglo-Powhatan War. A brief period of peace came only after the capture of Pocahontas, her baptism, and her marriage to tobacco planter John Rolfe in 1614. Within a few years both Powhatan and Pocahontas were dead. Powhatan died in Virginia, but Pocahontas died while in England. Meanwhile, the English settlers continued to encroach on Powhatan territory.
After Wahunsenacawh's death, his younger brother, Opitchapam, briefly became chief, followed by their younger brother Opechancanough. The Powhatans were frightened by the influx of immigrants, the expansion of new villages on traditional farming lands, the subsequent need to purchase food from the settlers, and the enforced placement of Indian youth in "colleges." In March 1622, they attacked the Jamestown plantations killing hundreds. The settlers quickly sought retaliation, killing hundreds of tribesmen and their families, burning fields, and spreading smallpox. In 1644 the Powhatans again attacked the English to force them from Powhatan territories, which was again met with strong reprisals from the English, ultimately resulting in the near destruction of the tribe. The Second Anglo–Powhatan War that followed the 1644 incident ended in 1646, after Royal Governor of Virginia William Berkeley's forces captured Opechancanough, thought to be between 90 and 100 years old. While a prisoner, Opechancanough was killed, shot in the back by a soldier assigned to guard him. He was succeeded as Weroance by Necotowance, and later by Totopotomoi and by his daughter Cockacoeske.
The Treaty of 1646 marked the effective dissolution of the united confederacy, as white colonists were granted an exclusive enclave between the York and Blackwater Rivers. This physically separated the Nansemonds, Weyanokes and Appomattox, who retreated southward, from the other Powhatan tribes then occupying the Middle Peninsula and Northern Neck. While the southern frontier demarcated in 1646 was respected for the remainder of the 17th century, the House of Burgesses lifted the northern one on September 1, 1649. Waves of new immigrants quickly flooded the peninsular region, then known as Chickacoan, and restricted the dwindling tribes to lesser tracts of land that became some of the earliest Indian reservations.
In 1665, the House of Burgesses passed stringent laws requiring the Powhatan to accept chiefs appointed by the governor. After the Treaty of Albany in 1684, the Powhatan Confederacy all but vanished.
Changing society and English expansion
Educational programs established through the creation of the Indian School at the College of William and Mary in 1691 were a driving force behind cultural change. The College provided Powhatan boys with skills considered to be of little use by their people, however, literacy was generally viewed as a benefit of this Western education, and Powhatan boys who had received education at William and Mary sent their sons to the school. Increasing marriage of Powhatans to non-Indigenous people in the 17th century is also believed to have contributed to cultural change.
The Powhatans had begun gambling, smoking tobacco, and consuming alcohol recreationally by the end of the 17th century.
Characteristics
The Powhatan lived east of the Fall Line in Tidewater Virginia. They built their houses, called yehakins, by bending saplings and placing woven mats or bark over top of the saplings. They supported themselves primarily by growing crops, especially maize, but they also fished and hunted in the great forest in their area. Villages consisted of a number of related families organized in tribes led by a chief (weroance/werowance or weroansqua if female). They paid tribute to the paramount chief (mamanatowick), Powhatan.
The region occupied by the Powhatan was bounded approximately by the Potomac River to the north, the Fall Line to the west, the Virginia-North Carolina border to the south, and the Atlantic Ocean to the east. Generally peaceful interactions with the Pamlicos and Chowanocs occurred along the southern boundary, while the western and northern boundaries were more contested. Conflicts occurred with Monacans and Mannahoacs along the western boundary and Massawomecks along the northern boundary.
The Powhatan primarily used fires to heat their sleeping rooms. As a result, less bedding was needed, and bedding materials could be easily stored during daytime hours. Couples typically slept head to foot.
According to research by the National Park Service, Powhatan "men were warriors and hunters, while women were gardeners and gatherers. The English described the men, who ran and walked extensively through the woods in pursuit of enemies or game, as tall and lean and possessed of handsome physiques. The women were shorter, and were strong because of the hours they spent tending crops, pounding corn into meal, gathering nuts, and performing other domestic chores. When the men undertook extended hunts, the women went ahead of them to construct hunting camps. The Powhatan domestic economy depended on the labor of both sexes." Powhatan women would form work parties in order to accomplish tasks more efficiently. Women were also believed to serve as barbers, decorate homes, and produce decorative clothing. Overall, Powhatan women maintained a significant measure of autonomy in both their work lives and sexual lives. After a long day, the Powhatan people would celebrate and burn off any last energy they had by dancing and singing. This also allowed them to release any tensions they had from working with others.
All of Virginia's natives practiced agriculture. They periodically moved their villages from site to site. Villagers cleared the fields by felling, girdling, or firing trees at the base and then using fire to reduce the slash and stumps. A village became unusable as soil productivity gradually declined and local fish and game were depleted. The inhabitants then moved on to allow the depleted area to revitalize, the soil to replenish, the foliage to grow and the number of fish and game to increase. With every change in location, the people used fire to clear new land. They left more cleared land behind. The natives also used fire to maintain extensive areas of open game habitat throughout the East, later called "barrens" by European colonists. The Powhatan also had rich fishing grounds. Bison had migrated to this area by the early 15th century.
It is believed that Powhatans would make offerings and pray to the sun during sunrises. Although, they also prayed and made offerings to specific Gods, who were believed to be in control of the harvest. They used the land differently, and their religion was a native one. Significantly, one of the major duties of Powhatan priests was controlling the weather.
Tribes of the Paramount Chiefdom and their territories
The number of tribes listed and the number of warriors are based on estimates or reports which mostly go back to Captain John Smith (1580 - 1631) and William Strachey(1572 - 1621). Usually only the number of the warriors of the individual tribes is known, the stem number will therefore be determined with a ratio of 1: 3, 1: 3,3 or last 1: 4, the studies of Christian Feest are decisive. The last-mentioned figures refer to the first mention as well as the last mention of the respective tribes - e.g. 1585/1627 for the Chesapeake (Source: Handbook of North American Indians).
The Powhatan people today
State and federal recognition
As of 2014, the state of Virginia has recognized eight Powhatan Indian-descended tribes in Virginia. Collectively, the tribes currently have 3,000–3,500 enrolled tribal members. It is estimated, however, that 3 to 4 times that number are eligible for tribal membership. Two of these tribes, the Mattaponi and Pamunkey, still retain their reservations from the 17th century and are located in King William County, Virginia.
Since the 1990s, the Powhatan Indian tribes which have state recognition, along with other Virginia Indian tribes which have state recognition, have been seeking federal recognition. That recognition process has proved difficult as it has been hampered by the lack of official records to verify heritage and by the historical misclassification of family members in the 1930s and 1940s, largely a result of Virginia's state policy of race classification on official documents.
After Virginia passed stringent segregation laws in the early 20th century and ultimately the Racial Integrity Act of 1924 which mandated every person who had any African heritage be deemed black, Walter Plecker, the head of Vital Statistics office, directed all state and local registration offices to use only the terms "white" or "colored" to denote race on official documents and thereby eliminated all traceable records of Virginia Indians. All state documents, including birth certificates, death certificates, marriage licenses, tax forms and land deeds, thus bear no record of Virginia Indians. Plecker oversaw the Vital Statistics office in the state for more than 30 years, beginning in the early 20th century, and took a personal interest in eliminating traces of Virginia Indians. Plecker surmised that there were no true Virginia Indians remaining as years of intermarriage has diluted the race. Over his years of service, he conducted a campaign to reclassify all bi-racial and multi-racial individuals as black, believing such persons were fraudulently attempting to claim their race to be Indian or white. The effect of his reclassification has been described by tribal members as "paper genocide".
After the United States entered WWII many Powhatans volunteered to serve in the military. Powhatan men fought to be regarded separately from the black community by the Selective Service. In 1954, Powhatans were given partial legal recognition by the General Assembly through a law stating that people with one-fourth or more Indian ancestry and one-sixteenth or less African ancestry were to be recognized as tribal Indians.
Initially, the Virginia tribes' efforts to gain federal recognition encountered resistance due to federal legislators' concerns over whether gambling would be established on their lands if recognition were granted. Casinos are illegal in Virginia and concerns were expressed about tax effects. In March 2009, five of the state-recognized Powhatan Indian tribes and the other state-recognized Virginia Indian tribe introduced a bill to gain federal recognition through an act of Congress. The bill, "The Thomasina E. Jordan Indian Tribes of Virginia Federal Recognition Act", included a section forbidding the tribes from opening casinos, even if casinos became legal in Virginia. The House Committee on Natural Resources recommended the bill be considered by the US House of Representatives at the end of April, and the House approved the bill on June 3, 2009. The bill was sent to the Senate's Committee on Indian Affairs, who recommended it be heard by the Senate as a whole in October. On December 23, 2009, the bill was placed on the Senate Legislative Calendar under general orders, which is where the bill is currently. The bill had a hold on it placed for "jurisdictional concerns", as Senator Tom Coburn (R-Ok) believes requests for tribal recognition should be processed through the Bureau of Indian Affairs. The Virginia tribes say that the disrupted record keeping under the racially discriminatory practices of Walter Plecker destroyed their ability to demonstrate historical continuity of identity. The bill died in the Senate.
In February 2011, the six Virginia tribes started the process again to try to gain federal recognition. They introduced a bill in the US House of Representatives and a companion bill in the Senate on the same day. As of April 2011, the bills are in the Senate Committee on Indian Affairs and the Subcommittee Indian and Alaska Native Affairs, respectively.
Powhatan languages
The tribes of the Powhatan confederacy shared mutually intelligible Algonquian languages. The most common was likely Powhatan. Its use became dormant due to the widespread deaths and social disruption suffered by the peoples. Much of the vocabulary bank is forgotten. Attempts have been made to reconstruct the vocabulary of the language using sources such as word lists provided by Smith and by the 17th-century writer William Strachey.
Powhatan in film
The Powhatan people are featured in MGM's live action film Captain John Smith and Pocahontas (1953) and the Disney animated musical film Pocahontas (1995). They also appeared in the straight-to-video sequel Pocahontas II: Journey to a New World (1998). Some of the current members of Powhatan-descended tribes complained about the Disney film. Roy Crazy Horse of the Powhatan Renape Nation said the Disney movie "distorts history beyond recognition".
An attempt at a more historically accurate representation was the drama The New World (2005), directed by Terrence Malick, which had actors speaking a reconstructed Powhatan language devised by the linguist Blair Rudes. The Powhatan people generally criticize the film for continuing the myth of a romance between Pocahontas and John Smith. Her English husband was John Rolfe, whom she married on April 5, 1614.
Notable descendants
The Powhatan tribe's notable descendants include Edith Bolling Galt Wilson, wife of Woodrow Wilson, and Las Vegas entertainer Wayne Newton.
See also
Indigenous peoples of the Southeastern Woodlands
African-Native Americans
Native Americans in the United States
Native American tribe
One-drop rule
Patawomeck
Powhatan language
Tsenacommacah
Notes
Sakas, Karliana. "The indigenous authorship of the narratives of the Spanish Jesuit mission of Ajacan (1570-1572)." EHumanista, vol. 19, 2011, p. 511+. Gale Academic Onefile, Accessed 14 Nov. 2019.
Further reading
Gleach, Frederic W. (1997) Powhatan's World and Colonial Virginia: A Conflict of Cultures. Lincoln: University of Nebraska Press.
Gleach, Frederic W. (2006) "Pocahontas: An Exercise in Mythmaking and Marketing", In New Perspectives on Native North America: Cultures, Histories, and Representations, ed. by Sergei A. Kan and Pauline Turner Strong, pp. 433–455. Lincoln: University of Nebraska Press.
Karen Kupperman, Settling With the Indians: The Meeting of English and Indian Cultures in America, 1580–1640, 1980
A. Bryant Nichols Jr., Captain Christopher Newport: Admiral of Virginia, Sea Venture, 2007
James Rice, Nature and History in the Potomac Country: From Hunter-Gatherers to the Age of Jefferson, 2009.
Helen C. Rountree, Pocahontas's People: The Powhatan Indians of Virginia Through Four Centuries, 1990
External links
The Anglo-Powhatan Wars
Powhatan Renape Nation — Rankokus American Indian Reservation
A Study of Virginia Indians and Jamestown: The First Century
American in 1607 – National Geographic Magazine Jamestown/Werowocomoco Interactive
UNC Charlotte linguist Blair Rudes restores lost language, culture for 'The New World'
How a linguist revived 'New World' language
The Indigenous Maps and Mapping of North American Indians
Algonquian peoples
Eastern Algonquian languages
Extinct languages of North America
Native American tribes in Virginia
Native American tribes in Maryland
Native American tribes in New Jersey
Indigenous languages of the North American eastern woodlands
History of Virginia
Algonquian ethnonyms
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"A metacharacter is a character that has a special meaning to a computer program, such as a shell interpreter or a regular expression (regex) engine.\n\nIn POSIX extended regular expressions, there are 14 metacharacters that must be escaped (preceded by a backslash (\\)) in order to drop their special meaning and be treated literally inside an expression: opening and closing square brackets ([ and ]); backslash (\\); caret (^); dollar sign ($); period/full stop/dot (.); vertical bar/pipe symbol (|); question mark (?); asterisk (*); plus and minus signs (+ and -); opening and closing curly brackets/braces ({ and }); and opening and closing parentheses (( and )).\n\nFor example, to match the arithmetic expression (1+1)*3=6 with a regex, the correct regex is \\(1\\+1\\)\\*3=6; otherwise, the parentheses, plus sign, and asterisk will have special meanings.\n\nOther examples\n\nSome other characters may have special meaning in some environments.\n In some Unix shells the semicolon (\";\") is a statement separator.\n In XML and HTML, the ampersand (\"&\") introduces an HTML entity. It also has special meaning in MS-DOS/Windows Command Prompt.\n In some Unix shells and MS-DOS/Windows Command Prompt, the less-than sign and greater-than sign (\"<\" and \">\") are used for redirection and the grave accent/backquote (\"`\") is used for command substitution.\n In many programming languages, strings are delimited using quotes (\" or '). In some cases, escape characters (and other methods) are used to avoid delimiter collision, e.g. \"He said, \\\"Hello\\\"\".\n In printf format strings, the percent sign (\"%\") is used to introduce format specifiers and must be escaped as \"%%\" to be interpreted literally. In SQL, the percent is used as a wildcard character.\n In SQL, the underscore (\"_\") is used to match any single character.\n\nEscaping\n\nThe term \"to escape a metacharacter\" means to make the metacharacter ineffective (to strip it of its special meaning), causing it to have its literal meaning. For example, in PCRE, a dot (\".\") stands for any single character. The regular expression \"A.C\" will match \"ABC\", \"A3C\", or even \"A C\". However, if the \".\" is escaped, it will lose its meaning as a metacharacter and will be interpreted literally as \".\", causing the regular expression \"A\\.C\" to only match the string \"A.C\".\n\nThe usual way to escape a character in a regex and elsewhere is by prefixing it with a backslash (\"\\\"). Other environments may employ different methods, like MS-DOS/Windows Command Prompt, where a caret (\"^\") is used instead.\n\nSee also\n Markup language\n\nReferences\n\nFormal languages\nPattern matching\nProgramming language topics",
"On Unix-like computer systems, specfs is short for special filesystem. This is not a physical or network file system and it does not have a mount point either. It is simply an filesystem layer to access device special files, which are hosted in any of the regular filesystems.\n\nSpecial-purpose file systems\nUnix file system technology"
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"J. Paul Getty",
"Later years & death"
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C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
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What did he do in later years?
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What did J. Paul Getty do in later years?
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J. Paul Getty
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On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
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overseeing his operations across the world.
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Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| true |
[
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)",
"Stephen Fasano, better known by his stage name The Magician, is a Belgian DJ and record producer from Namur, in the Wallonia region of Belgium. He is best known for his 2011 remix of Lykke Li's \"I Follow Rivers\" and 2014 remix of Clean Bandit's \"Rather Be\" which were worldwide hits. In 2014 he received the Electro award during Belgian ceremony Les Octaves de la musique. \nHis monthly mixtapes called \"Magic Tapes\", which he started releasing in the early 2010s, feature new dance music from an array of genres. He is also known for doing magic tricks while performing.\n\nCareer\n\n2007–2010: Aeroplane\n\nHe was a member of music duo Aeroplane with Vito de Luca since 2007. In 2010, Fasano announced that he was leaving the duo to start his own solo project. De Luca continues to use the name Aeroplane.\n\n2011–2013: Twist\nIn 2011 he released his debut EP Twist on the hip French label Kitsuné in collaboration with Yuksek as Peter and The Magician. In October 2011 he released his debut single \"I Don't Know What to Do\" featuring Jeppe Laursen on Kitsuné. In 2012 he released the single \"Memory\" again with Yuksek as Peter and The Magician on Kitsuné. In September 2013 he released the single \"When the Night Is Over\", and also later released the single \"On My Brain\" on Party Fine Music.\n\n2014–2019: Breakthrough\nIn July 2014 he released the single \"Sunlight\" featuring vocals from Years & Years; the song peaked at number 7 in Belgium. The song was released in the United Kingdom on 28 September 2014. The Magician performed \"Sunlight\" along with Years & Years at the 2014 MTV Europe Music Awards in Glasgow, Scotland as part of the Digital Show which was held at the O2 Academy Glasgow.\nIn July 2014 he launches his own label Potion Records to release his own music as well as the music of others. Artists like Fabich, The Aston Shuffle, Bobby Nourmand, Just Kiddin, Endor and Aevion released music with Potion Records. The label takes a break in 2019.\nIn parallel, The Magician tours mainly in the United States and in Europe. He also performed at Tomorrowland in 2018.\n\n2020-present: Renaissance\nThe Magician maintains a solid rhythm in releasing remixes. He also releases the Renaissance EP in May 2020. In parallel, he takes advantage of quarantine to launch his live Vinyl Home Show SUPERVISION. Later this year he relaunched his label Potion Records in collaboration with French music company Unity Group and released music from Soda State and Aevion.\n\nThe album Magic Tape 100 should be released in 2021.\n\nDiscography\n\nEPs\n\nExtended plays\n\nSingles\n\nSingles as Peter and The Magician\n\nReferences\n\nNotes\n A \"I Don't Know What to Do\" did not enter the Ultratop 50, but peaked at number 55 on the Flemish Ultratip chart.\n B \"I Don't Know What to Do\" did not enter the Ultratop 50, but peaked at number 23 on the Walloon Ultratip chart.\n C \"When the Night Is Over\" did not enter the Ultratop 50, but peaked at number 26 on the Flemish Ultratip chart.\n D \"Together\" did not enter the Ultratop 50, but peaked at number 7 on the Walloon Ultratip chart.\n E \"Tied Up\" did not enter the Ultratop 50, but peaked at number 3 on the Walloon Ultratip chart.\n F \"Las Vegas\" did not enter the Ultratop 50, but peaked at number 15 on the Flemish Ultratip chart.\n G \"Las Vegas\" did not enter the Ultratop 50, but peaked at number 36 on the Walloon Ultratip chart.\n H \"Build a Fire\" did not enter the Ultratop 50, but peaked at number 27 on the Flemish Ultratip chart.\n I \"Build a Fire\" did not enter the Ultratop 50, but peaked at number 31 on the Walloon Ultratip chart.\n\nSources\n\nExternal links\n Official website\n \n \n \n\nLiving people\nMusicians from Brussels\nBelgian DJs\nBelgian record producers\nFuture house musicians\nBelgian house musicians\nKitsuné artists\nElectronic dance music DJs\nYear of birth missing (living people)"
] |
[
"J. Paul Getty",
"Later years & death",
"What did he do in later years?",
"overseeing his operations across the world."
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
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What type of operations did he run?
| 2 |
What type of operations did J. Paul Getty run?
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J. Paul Getty
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On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
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The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,
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Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
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[
"This article covers the GM assembly plant built in 1959; for the general history of the Willow Run complex, see the main article.\n\nWillow Run Assembly was a General Motors automobile factory near Ypsilanti, Michigan, located at 2625 Tyler Road, in the Willow Run manufacturing complex. Willow Run Assembly consisted of an assembly plant of 2.3 million square feet, another building that was known in later years as Willow Run Company Vehicle Operations, covering 23,000 square feet on 22 acres of land, and perhaps other parcels. Willow Run Assembly was to the south of the former Willow Run Transmission, the site of the bomber plant built by Ford in 1941. \n\nProduction of automobiles began at Willow Run in 1959 with the Chevrolet Corvair; Willow Run also built the Chevrolet Nova (1962-1979), the X-bodies (1980-1985), the GM H body, and the Chevrolet Caprice. Corvairs were assembled at Willow Run during the car's entire 10-year production run. On May 14, 1969, the media was invited to Willow Run as the last Corvair came down the line; a departure from GM's policy of not permitting reporters to visit their manufacturing facilities.\n\nIn 1968, General Motors began reorganizing its body and assembly operations into the GM Assembly Division (GMAD). GMAD required 16 years to completely absorb Fisher Body's operations, and Fisher would manufacture bodies at Willow Run until the 1970s. Assembly operations at Willow Run ended in July 1993 after a reduction in demand for the full-size B-bodies of the time. Operations were transferred to the Arlington Assembly Plant in Texas.\n\nWhat was the main plant at Willow Run Assembly had by 2010 become a giant warehouse, the Willow Run Business Center, part of which was leased to GM for use as a parts distribution facility. Willow Run Company Vehicle Operations became part of the abandoned GM properties managed by the RACER Trust in March 2011; in April 2013, RACER sold the Company Vehicle Operations facility to International Turbine Industries, an engine maintenance and repair company headquartered across Tyler Road from the former assembly plant.\n\nSee also\n List of GM factories\n\nReferences\n\nExternal links\nMap: \n\nGeneral Motors factories\nFormer motor vehicle assembly plants\nMotor vehicle assembly plants in Michigan\nYpsilanti, Michigan\n1959 establishments in Michigan",
"In computer science, compile time (or compile-time) refers to either the operations performed by a compiler (the \"compile-time operations\"), programming language requirements that must be met by source code for it to be successfully compiled (the \"compile-time requirements\"), or properties of the program that can be reasoned about during compilation. Compile time refers to the time duration in which the programming code is converted to the machine code (i.e binary code) and usually occurs before runtime.\n\nCompile time/Early binding vs Run time \nThe determination of execution model have been set during the compile time stage. Run time- the method of execution and allocation have seen set during the run time and based on the run time dynamicity.\n\nOverview\nThe operations performed at compile time usually include syntax analysis, various kinds of semantic analysis (e.g., type checks and instantiation of template) and code generation.\n\nProgramming language definitions usually specify compile time requirements that source code must meet to be successfully compiled. For example, languages may stipulate that the amount of storage required by types and variables can be deduced.\n\nProperties of a program that can be reasoned about at compile time include range-checks (e.g., proving that an array index will not exceed the array bounds), deadlock freedom in concurrent languages, or timings (e.g., proving that a sequence of code takes no more than an allocated amount of time).\n\nCompile time occurs before link time (when the output of one or more compiled files are joined together) and runtime (when a program is executed). In some programming languages it may be necessary for some compilation and linking to occur at runtime. There is a trade-off between compile-time and link-time in that many compile time operations can be deferred to link-time without incurring extra run-time.\n\n\"Compile time\" can also refer to the amount of time required for compilation.\n\nSee also\nLink time\nRun time (program lifecycle phase)\nCompiling\nType system\n Just in time compilation\n\nCompiler construction"
] |
[
"J. Paul Getty",
"Later years & death",
"What did he do in later years?",
"overseeing his operations across the world.",
"What type of operations did he run?",
"The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,"
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
|
What else did he do during those years?
| 3 |
What else did J. Paul Getty do during Arab-Israeli Yom Kippur War of October 1973 other than overseeing his operation across ther world?
|
J. Paul Getty
|
On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
|
His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3
|
Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| false |
[
"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",
"Do You Know What I'm Going To Do Next Saturday? is a 1963 children's book published by Beginner Books and written by Helen Palmer Geisel, the first wife of Theodor Seuss Geisel (Dr. Seuss). Unlike most of the Beginner Books, Do You Know What I'm Going To Do Next Saturday? did not follow the format of text with inline drawings, being illustrated with black-and-white photographs by Lynn Fayman, featuring a boy named Rawli Davis. It is sometimes misattributed to Dr. Seuss himself. The book's cover features a photograph of a young boy sitting at a breakfast table with a huge pile of pancakes.\n\nActivities mentioned in the book include bowling, water skiing, marching, boxing, and shooting guns with the United States Marines, and eating more spaghetti \"than anyone else has eaten before.\n\nHelen Palmer's photograph-based children's books did not prove to be as popular as the more traditional text-and-illustrations format; however, Do You Know What I'm Going To Do Next Saturday received positive reviews and was listed by The New York Times as one of the best children's books of 1963. The book is currently out of print.\n\nReferences\n\n1963 children's books\nAmerican picture books"
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"J. Paul Getty",
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"What did he do in later years?",
"overseeing his operations across the world.",
"What type of operations did he run?",
"The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,",
"What else did he do during those years?",
"His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, \"H3"
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
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What did the drug do?
| 4 |
What did the drug H3 do?
|
J. Paul Getty
|
On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
|
", to maintain his potency.
|
Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| false |
[
"The Naranjo algorithm, Naranjo Scale, or Naranjo Nomogram is a questionnaire designed by Naranjo et al. for determining the likelihood of whether an ADR (adverse drug reaction) is actually due to the drug rather than the result of other factors. Probability is assigned via a score termed definite, probable, possible or doubtful. Values obtained from this algorithm are often used in peer reviews to verify the validity of author's conclusions regarding adverse drug reactions. It is also called the Naranjo Scale or Naranjo Score.\n\nIt is often compared to the WHO-UMC system for standardized causality assessment for suspected adverse drug reactions (ADRs).\n\nEmpirical approaches to identifying ADRs have fallen short because of the complexity of the set of variables involved in their detection. Computer decision programs have helped in this analysis. Electronic medical record systems can be programmed to fire alerts when a potential adverse drug event is about to occur or has already occurred.[3,4] Automated adverse drug event monitors can search for keywords or phrases throughout the patient's medical record to identify drug therapies, laboratory results, or problem lists that may indicate that a patient has already been treated for an ADR. This detection method uncovers significantly more adverse events, including medication errors, than relying on empirical methods or incident reports.[1,2]\n\nEmpirical methods to assess the likelihood that an ADR has taken place have been lacking. More formal, logical analysis can help differentiate between events that are attributable to a drug from those associated with underlying diseases or other factors, underlying the complexity of detection.[5]\n\nSeveral investigators, among them researchers at the FDA, have developed such logical evaluation methods, or algorithms, for evaluating the probability of an ADR.[2, 20-24] Almost all of these methods employ critical causation variables identified by Sir Austin Bradford Hill in 1965.[6] The most widely accepted of these instruments is the Naranjo algorithm[22] (Table). This method has been tested for internal validity with between-rater reliability testing, and its probability scale has consensual, content, and concurrent validity as well as ease of use in clinical settings and controlled studies.\n\nQuestionnaire \n1. Are there previous conclusive reports on this reaction?\n\nYes (+1) No (0) Do not know or not done (0)\n\n2. Did the adverse events appear after the suspected drug was given?\n\nYes (+2) No (-1) Do not know or not done (0)\n\n3. Did the adverse reaction improve when the drug was discontinued or a specific antagonist was given?\n\nYes (+1) No (0) Do not know or not done (0)\n\n4. Did the adverse reaction appear when the drug was readministered?\n\nYes (+2) No (-1) Do not know or not done (0)\n\n5. Are there alternative causes that could have caused the reaction?\n\n''Yes (-1) No (+2) Do not know or not done (0)\n\n6. Did the reaction reappear when a placebo was given?\n\nYes (-1) No (+1) Do not know or not done (0)\n\n7. Was the drug detected in any body fluid in toxic concentrations?\n\nYes (+1) No (0) Do not know or not done (0)\n\n8. Was the reaction more severe when the dose was increased, or less severe when the dose was decreased?\n\nYes (+1) No (0) Do not know or not done (0)\n\n9. Did the patient have a similar reaction to the same or similar drugs in any previous exposure?\n\nYes (+1) No (0) Do not know or not done (0)\n\n10. Was the adverse event confirmed by any objective evidence?\n\nYes (+1) No (0) Do not know or not done (0)\nScoring\n\n ≥ 9 = definite ADR\n 5-8 = probable ADR\n 1-4 = possible ADR\n 0 = doubtful ADR\n\nReferences\n \n\nA*l-Tajir GK, Kelly WN. Epidemiology, comparative methods of detection, and preventability of adverse drug events. Ann Pharmacother. 2005;39:1169-1174. Abstract\n\nBrown S, Black K, Mrochek S, et al. RADARX: recognizing, assessing, and documenting adverse Rx events. Proc AMIA Symp. 2000:101-105.\nClassen DC, Pestotnik SL, Evans RS, et al. Description of a computerized adverse drug event monitor using a hospital information system. Hosp Pharm. 1992;27:774-783. Abstract\nGandi TK, Bates DW. Computer adverse drug event detection and alerts. In: Making Healthcare Safer: A Critical Analysis of Patient Safety Practices. Rockville, Md: Agency for Healthcare Research and Quality; 2001.\nJones JK. Adverse drug reactions in the community health setting: approaches to recognizing, counseling, and reporting. Fam Community Health. 1982;5:1982.\nHill AB. The environment and disease association or causation. Proc R Soc Med. 1965;58:295-300. Abstract\nNaranjo CA, Busto U, Sellers EM, et al. A method for estimating the probability of adverse drug reactions. Clin Pharmacol Ther. 1981;30:239-245. Abstract\n\nExternal links\nNaranjo algorithm\nOnline calculator \n\nDrug safety",
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)"
] |
[
"J. Paul Getty",
"Later years & death",
"What did he do in later years?",
"overseeing his operations across the world.",
"What type of operations did he run?",
"The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,",
"What else did he do during those years?",
"His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, \"H3",
"What did the drug do?",
"\", to maintain his potency."
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
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What year did he die?
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What year did J. Paul Getty die?
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J. Paul Getty
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On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
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June 6, 1976,
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Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| true |
[
"Master of the Die (fl. 1525–1560) was an Italian engraver and printmaker. His year of birth and death are unknown.\n\nThe identity of the Master of the Die is uncertain. He was given this name because he signed his prints with a small die. Some theories to the identity of the artist include Benedetto Verino, Marcantonio Raimondi's son Daddi or Dado, Giovanni Francesco Zabello, or Tommaso Vincidor. What is known is the Master of the Die studied under Marcantonio Raimondi. He worked in the style of Raphael.\n\nReferences\n\nItalian printmakers\nItalian engravers\n16th-century engravers\nDie",
"\"Good Die Young\" is a song by Australian rock band Divinyls, released in July 1984. The single was lifted from the band's second studio album What a Life! and proved to be a moderate success in Australia.\n\nThe music video was shot in various Sydney locations - outside Railway Square next to a famous golf retailer's neon lights, outside George Street cinema complex, and on a building next to Central Station's clocktower.\n\nBackground\n\nDivinyls began recording material for their second album over a two-year span, with Christina Amphlett and Mark McEntee writing several songs and working with three different producers along the way. Mark Opitz was the first, having already produced the band's debut album Desperate. However Amphlett and McEntee were not satisfied with his efforts and eventually settled on musician/producer Gary Langan to work on the rest of the album. \"Good Die Young\" was one of the tracks recorded during Langan's run as producer, however a full album did not materialize at that stage and eventually Mike Chapman stepped in to produce the rest of What a Life! as well as the entirety of the band's next album Temperamental.\n\nIn Australia, \"Good Die Young\" was released as the lead single from the album What a Life!, as their previous song \"Casual Encounter\" appeared on their debut album Desperate. However, the American release of What a Life! also included \"Casual Encounter\", therefore making \"Good Die Young\" the second single release in the US.\n\n\"Good Die Young\" charted within the top forty on the Australian singles chart, peaking at number thirty-two. Although the single narrowly missed the top thirty, it was considered a moderate success after the band's previous single \"Casual Encounter\" had only peaked at number ninety-one.\n\nTrack listing\nAustralian 7\" Single\n \"Good Die Young\" - 3:36\n \"9:50\" - 3:10 (considered a rare track as it does not appear on an official Divinyls studio album)\n\nCharts\n\nReferences\n\n1984 singles\nDivinyls songs\nSongs written by Chrissy Amphlett\nSongs written by Mark McEntee\n1984 songs\nChrysalis Records singles"
] |
[
"J. Paul Getty",
"Later years & death",
"What did he do in later years?",
"overseeing his operations across the world.",
"What type of operations did he run?",
"The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,",
"What else did he do during those years?",
"His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, \"H3",
"What did the drug do?",
"\", to maintain his potency.",
"What year did he die?",
"June 6, 1976,"
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
|
What did he die from?
| 6 |
What did J. Paul Getty die from?
|
J. Paul Getty
|
On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
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The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion
|
Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| false |
[
"Hagen Friedrich Liebing (18 February 1961 – 25 September 2016), nicknamed \"The Incredible Hagen\", was a German musician and journalist, best known as the bassist for the influential punk band Die Ärzte. \n\nIn 1986, drummer Bela B invited him to join Die Ärzte. The two knew each other from early Berlin punk days. The band disbanded in 1988. Liebing tried his hand at journalism shortly thereafter. He wrote several articles for Der Tagesspiegel, and was the senior music editor of Tip Berlin since the mid-1990s. \n\nWhen Die Ärzte reunited in 1993, Liebing did not join them. However, he did join them on stage as a special guest in 2002. In 2003, he published his memoirs The Incredible Hagen – My Years with Die Ärzte. From 2003 to 2010, he headed the Press and Public Relations at the football club Tennis Borussia Berlin. \n\nLiebing died in Berlin on 25 September 2016, after a battle with a brain tumor.\n\nReferences\n\n1961 births\n2016 deaths\nMusicians from Berlin\nGerman male musicians\nGerman journalists\nDeaths from cancer in Germany\nDeaths from brain tumor",
"Gefangen im Schattenreich von Die Ärzte (\"Imprisoned in the netherworld of Die Ärzte\") is the third VHS by German rock band Die Ärzte. It features live and backstage videos. It is the first part of the tour videos from 1993 to 1996.\n\nTrack listing \n \"Super Drei\" (Super three)\n \"Geh mit mir\" (Date me lit. Go with me)\n \"FaFaFa\"\n \"Friedenspanzer\" (Peace tank)\n \"Der Misanthrop\" (The misanthrope)\n \"Teddybär\" (Teddy bear)\n \"2000 Mädchen\" (2,000 girls)\n \"Vermissen, Baby\" (Missing, baby)\n \"Omaboy\" (Grandma boy)\n \"Schunder-Song\"\n \"Ich bin reich\" (I'm rich)\n \"Anneliese Schmidt\"\n \"Westerland\"\n \"Revolution\"\n \"Ist das alles?\" (Is that all?)\n Video clip: \"Hurra\" (Hooray!)\n \"Making of: Quark\"\n\nNoch mehr gefangen im Schattenreich von Die Ärzte \nNoch mehr gefangen im Schattenreich von Die Ärzte (\"Even more imprisoned in the netherworld of Die Ärzte\") is the fourth VHS by the German rock band Die Ärzte. It features the second part of the tour videos from 1993 to 1996.\n\nTrack listing \n \"Making of: Planet Punk\"\n \"Zum Bäcker\" (To the baker)\n \"Mysteryland\"\n \"Making of: 3-Tage-Bart\" (Designer stubble; lit: 3-days-beard)\n \"Trick 17 m.S\"\n \"Elke\"\n \"Die Banane\" (The banana)\n \"Frank'n'Stein\"\n \"Westerland\"\n \"Paul\"\n \"BGS\" (Bundesgrenzschutz - Federal Border Guard)\n \"Making of: Hurra\" (Hooray!)\n \"Die traurige Ballade von Susi Spakowski\"\n \"Die Allerschürfste\" (The Superhottest)\n \"Tour-Charts - Was Die Ärzte so hinter der Bühne singen…\" (Tour charts - What Die Ärzte sing backstage)\n \"Alleine in der Nacht\" (Alone at night)\n \"Sweet Sweet Gwendoline\"\n \"Making of: Schunder-Song\"\n \"Schopenhauer\"\n \"Punk Rock - Die Ärzte als Gesangstrio, das alte deutsche Lieder vorträgt\" (Punk Rock - Die Ärzte as a singing-trio, singing old German songs)\n \"B.S.L.\" (Brutaler, schneller Lärm - Brutal, rapid noise)\n \"Wie am ersten Tag\" (Like the first day)\n \"Blumen\" (Flowers)\n \"Erna P.\"\n \"Vollmilch\" (Whole milk)\n \"Schrei nach Liebe\" (Cry for love)\n \"Rod Loves You\"\n\nVollkommen gefangen im Schattenreich von Die Ärzte \nVollkommen gefangen im Schattenreich von Die Ärzte (\"Completely imprisoned in the netherworld of Die Ärzte\") is the third DVD by German rock band Die Ärzte. It is a DVD sampler of the tour videos from 1993 to 1996.\n\nSong information \nVHS 1\n Track 6, 12 from the EP Zu schön, um wahr zu sein!\n Track 11 from the album Die Ärzte\n Track 7 from the album Ist das alles? (13 Höhepunkte mit den Ärzten)\n Track 13 from the album Das ist nicht die ganze Wahrheit...\n Track 3, 4, 9, 14 from the album Die Bestie in Menschengestalt\n Track 1, 2, 5, 8, 10 from the album Planet Punk\n\nVHS 2\n Track 24 from the single \"Paul\"\n Track 8, 10 from the album Debil\n Track 3, 16, 17 from the album Die Ärzte\n Track 6, 9, 22, 23 from the album Das ist nicht die ganze Wahrheit...\n Track 2, 25 from the album Die Ärzte früher!\n Track 11 from the EP 1, 2, 3, 4 – Bullenstaat!\n Track 14, 19, 26 from the album Die Bestie in Menschengestalt\n Track 5, 7, 13, 21, 27 from the album Planet Punk\n\nChart performance\nVollkommen gefangen im Schattenreich von Die Ärzte peaked at No. 71 in Germany.\n\nCertifications\n\nReferences\n\nDie Ärzte video albums\n1996 video albums\nLive video albums\n1996 live albums"
] |
[
"J. Paul Getty",
"Later years & death",
"What did he do in later years?",
"overseeing his operations across the world.",
"What type of operations did he run?",
"The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,",
"What else did he do during those years?",
"His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, \"H3",
"What did the drug do?",
"\", to maintain his potency.",
"What year did he die?",
"June 6, 1976,",
"What did he die from?",
"The New York Times wrote of Getty's domestic arrangement that: \"[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion"
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
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What state was he living in at time of death?
| 7 |
What state was J. Paul Getty living in at time of death?
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J. Paul Getty
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On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
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CANNOTANSWER
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Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| false |
[
"Lorain Francis Enoch Chamberlain Thorne (December 4, 1880 – ?) was an American football coach.\n\nEarly years\nThorne was born in December 1880 in Michigan. His father, William Thorne, was a grocer in Ypsilanti, Michigan.\n\nMichigan State Normal School\nThorne was the head football coach at Michigan State Normal School—now known as Eastern Michigan University—in Ypsilanti, Michigan for the 1898 season. His coaching record at the school was 1–5–2.\n\nHead coaching record\n\nLater years\nAt the time of the U.S. Census of 1900, Thorne was living with his parents in Ypsilanti and working in a woolen mill.\n\nIn a September 1918 draft registration card, Thorne was living in Port Huron, Michigan, and identified his present occupation as manufacturer and his employment status as \"not employed.\" He was married at the time to Maude A. Thorne.\n\nAt the time of the 1920 U.S. Census, he was living in Port Huron with his wife Maude and daughter Charlotte. His occupation was listed as a grocery store merchant.\n\nReferences\n\n1880 births\nYear of death missing\nEastern Michigan Eagles football coaches",
"Albert Edward \"Ted\" Matthews (11 November 1896 – 9 December 1997) was an Australian soldier and, at his death, the last living veteran of the Gallipoli landing from the First World War.\n\nEarly life\nMatthews was born in Leichhardt, an inner city suburb of Sydney, New South Wales, on 11 November 1896. A carpenter by trade, he was only 17 years of age when he enlisted to serve as an infantryman in the First World War. He became a signaler in the Australian 1st Infantry Brigade.\n\nFirst World War\nMatthews took part in the first Anzac landing at Gallipoli on 25 April 1915 at what is now known as Anzac Cove. Early in the landing, Matthews was hit in the chest by a shrapnel shard. A thick pocket-book—a present from his mother—saved his life.\n\nAfter the Gallipoli, Matthews went on to fight on the Western Front, where he took part in the Battle of Villers-Bretonneux. On his 22nd birthday, the same day as the cessation of hostilities on 11 November 1918, he was on a ship in the Indian Ocean on his way home on \"ANZAC leave\".\n\nDeath \nMatthews died in his sleep on 9 December 1997 at the age of 101. At his death, he was the last living veteran of the Gallipoli landing.\n\nMatthews had been inducted to the Australian Living Treasures list in 1997. He made several public statements of the futility of wars. He regarded Anzac Day as \"not for old diggers to remember, it's for survivors to warn the young about the dangers of romanticising war.\"\n\nMatthews was given a state funeral in recognition of his war service and his special place in Australian history.\n\nReferences\n\nExternal links\n Matthews' State Funeral – Press Release announcing Matthews' State Funeral by then Premier of NSW, Bob Carr.\n Interview with Ted Matthews\n\nAustralian Army soldiers\nPeople from Sydney\nAustralian carpenters\n1896 births\n1997 deaths\nAustralian centenarians\nMen centenarians"
] |
[
"J. Paul Getty",
"Later years & death",
"What did he do in later years?",
"overseeing his operations across the world.",
"What type of operations did he run?",
"The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled,",
"What else did he do during those years?",
"His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, \"H3",
"What did the drug do?",
"\", to maintain his potency.",
"What year did he die?",
"June 6, 1976,",
"What did he die from?",
"The New York Times wrote of Getty's domestic arrangement that: \"[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion",
"What state was he living in at time of death?",
"I don't know."
] |
C_fcbf8b88a7c949eba5b4bfd5a87492b7_0
|
Where was he buried?
| 8 |
Where was J. Paul Getty buried?
|
J. Paul Getty
|
On June 30, 1960, Getty threw a 21st birthday party for a relation of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly-purchased Sutton Place. 1,200 guests consisting of the cream of British society were invited. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10pm the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls, causing an estimated L20,000 in damages. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made the newly-arrived Getty the object of ridicule, and he never threw another large party again. Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The Arab-Israeli Yom Kippur War of October 1973 caused a worldwide oil shortage for years to come. In this period, the value of Getty Oil shares quadrupled, with Getty enjoying personal earnings of $25.8 million in 1975 (appr. $120 million in 2018 USD). His insatiable appetite for women and sex also continued well into his 80s. He used an experimental drug, "H3", to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960 she resided in a cottage on the grounds of Sutton Place, and, though she did not have a sexual relationship with him, Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch. The New York Times wrote of Getty's domestic arrangement that: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Penelope Kitson received a handsome bequest upon Getty's death: 5,000 Getty Oil shares (appr. $826,500 in 1976), which doubled in value during the 1980s, and a $1,167 monthly income. Getty died June 6, 1976, in Sutton Place near Guildford, Surrey, England. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public. CANNOTANSWER
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He was buried in Pacific Palisades, Los Angeles
|
Jean Paul Getty Sr. (; December 15, 1892 – June 6, 1976) was an American-born British petroleum industrialist who founded the Getty Oil Company in 1942 and was the patriarch of the Getty family. A native of Minneapolis, he was the son of pioneer oilman George Getty. In 1957, Fortune magazine named him the richest living American, while the 1966 Guinness Book of Records named him as the world's richest private citizen, worth an estimated $1.2 billion (approximately $ billion in ). At his death, he was worth more than $6 billion (approximately $ billion in ). A book published in 1996 ranked him as the 67th richest American who ever lived, based on his wealth as a percentage of the concurrent gross national product.
Despite his vast wealth, Getty was famously frugal, notably negotiating his grandson's kidnapping ransom in 1973. He had five children and divorced five times. Getty was an avid collector of art and antiquities. His collection formed the basis of the J. Paul Getty Museum in Los Angeles; more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953. The trust, which is the world's wealthiest art institution, operates the J. Paul Getty Museum Complexes: the Getty Center, the Getty Villa and the Getty Foundation, the Getty Research Institute, as well as the Getty Conservation Institute.
Early life and education
Getty was born in Minneapolis, Minnesota, to Sarah Catherine McPherson (Risher) and George Getty, who was an attorney in the insurance industry. Getty was raised as a Methodist by his parents. His father was a devout Christian Scientist and both were strict teetotalers. He was of part Scottish descent. In 1903, when Getty was 10 years old, George Getty traveled to Bartlesville, Oklahoma, and bought the mineral rights for 1,100 acres of land. The Getty family subsequently moved to Bartlesville, where J. Paul Getty attended the Garfield School. Within a few years Getty had established wells on the land that were producing 100,000 barrels of crude oil a month.
As newly minted millionaires, the family moved to Los Angeles. But, J. Paul Getty later returned to Oklahoma. At age 14, Getty attended Harvard Military School for a year, followed by Polytechnic High School, where he was given the nickname "Dictionary Getty" because of his love of reading. He became fluent in French, German and Italian. Getty was also conversational in Spanish, Greek, Arabic and Russian. A love of the classics led Getty to acquire reading proficiency in Ancient Greek and Latin.
He enrolled at the University of California, Berkeley, but did not complete a degree. Enamored with Europe after traveling abroad with his parents in 1910, Getty enrolled at the University of Oxford on November 28, 1912. A letter of introduction by then-President of the United States William Howard Taft enabled him to gain independent instruction from tutors at Magdalen College. Although he was not registered at Magdalen, he claimed the aristocratic students "accepted me as one of their own" and he fondly boasted of the friends he made, including Edward VIII, the future King of the United Kingdom. He obtained a diploma in economics and political science from Oxford in June 1913, then spent months traveling throughout Europe and Egypt before meeting his parents in Paris and returning with them to America in June 1914.
Career
In the autumn of 1914, George Getty gave his son $10,000 to invest in expanding the family's oil field holdings in Oklahoma. The first lot he bought, the Nancy Taylor No. 1 Oil Well Site near Haskell, Oklahoma was crucial to his early financial success. The well struck oil in August 1915 and by the next summer the 40 percent net production royalty he accrued from it had made him a millionaire.
In 1919, Getty returned to business in Oklahoma. During the 1920s, he added about $3 million to his already sizable estate. His succession of marriages and divorces so distressed his father that Getty inherited only $500,000 of the $10 million fortune his father left at the time of his death in 1930. Getty was left with one-third of the stock from George Getty Inc., while his mother received the remaining two-thirds, giving her a controlling interest.
In 1936, Getty's mother convinced him to contribute to the establishment of a $3.3 million investment trust, called the Sarah C. Getty Trust, to ensure the family's ever-growing wealth could be channeled into a tax-free, secure income for future generations of the Getty family. The trust enabled Getty to have easy access to ready capital, which he was funneling into the purchase of Tidewater Petroleum stock.
Shrewdly investing his resources during the Great Depression, Getty acquired Pacific Western Oil Corporation and began the acquisition (completed in 1953) of the Mission Corporation, which included Tidewater Oil and Skelly Oil. In 1967, Getty merged these holdings into Getty Oil.
In 1948–1949, Getty paid Ibn Saud $9.5 million in cash, guaranteed $1 million a year, and a royalty of 55 cents a barrel for the Saudi Arabian Neutral Zone concession. Oil was finally discovered in March 1953. Since 1953, Getty's gamble produced 16 million barrels a year, which contributed greatly to the fortune responsible for making him one of the richest people in the world.
Getty's wealth and ability to speak Arabic enabled his unparalleled expansion into the Middle East. Getty owned the controlling interest in about 200 businesses, including Getty Oil. Getty owned Getty Oil, Getty Inc., George F. Getty Inc., Pacific Western Oil Corporation, Mission Corporation, Mission Development Company, Tidewater Oil, Skelly Oil, Mexican Seaboard Oil, Petroleum Corporation of America, Spartan Aircraft Company, Spartan Cafeteria Company, Minnehoma Insurance Company, Minnehoma Financial Company, Pierre Hotel, Pierre Marques Hotel, a 15th-century palace and nearby castle at Ladispoli on the coast northwest of Rome, a Malibu ranch home, and Sutton Place, a 72-room mansion near Guildford, Surrey.
Art collection
Getty's first forays into collecting began in the late 1930s, when he took inspiration from the collection of 18th-century French paintings and furniture owned by the landlord of his New York City penthouse, Amy Guest, a relation of Sir Winston Churchill. A fan of 18th-century France, Getty began buying furniture from the period at reduced prices because of the depressed art market. He wrote several books on collecting, including Europe and the 18th Century (1949), Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (1955) and The Joys of Collecting (1965). His stinginess limited the range of his collecting because he refused to pay full price. Getty's companion in later life, Penelope Kitson, said "Paul was really too mean ever to allow himself to buy a great painting." Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Tintoretto, Degas, and Monet. During the 1950s, Getty's interests shifted to Greco-Roman sculpture, which led to the building of the Getty Villa in the 1970s to house the collection. These items were transferred to the Getty Museum and the Getty Villa in Los Angeles after his death.
Marriages, divorces and children
Getty was a notorious womanizer from the time of his youth, something that horrified his conservative Christian parents. His lawyer, Robin Lund, once said that, "Paul could hardly ever say 'no' to a woman, or 'yes' to a man." Lord Beaverbrook had called him "Priapic" and "ever-ready" in his sexual habits.
In 1917, when he was 25, a paternity suit was filed against Getty in Los Angeles by Elsie Eckstrom, who claimed he was the father of her daughter, Paula. Eckstrom claimed that Getty had taken her virginity and fathered the child, while his legal team tried to undermine her credibility by claiming that she had a history of promiscuity. Getty agreed to a settlement of $10,000, upon which Eckstrom left town with the baby.
Getty was married and divorced five times. He had five sons with four of his wives:
Jeanette Demont (married 1923 – divorced 1926); one son, George F. Getty II (1924–1973).
Allene Ashby (1926–1928); no children. Getty met 17-year-old Ashby, the daughter of a Texas rancher, in Mexico City while he was studying Spanish and overseeing his family's business interests. They eloped to Cuernavaca, Mexico, but the marriage was bigamous as he was not yet divorced from Jeanette. The two quickly decided to dissolve the union while still in Mexico.
Adolphine Helmle (1928–1932); one son, Jean Ronald Getty (1929–2009), whose son, Christopher Ronald Getty, married Pia Miller, sister of Marie-Chantal, Crown Princess of Greece. Like his first and second wives, Adolphine was 17 years old when Getty met her in Vienna. She was the daughter of a prominent German doctor who was opposed to her marrying the twice-divorced, 36-year-old Getty. The two eloped to Cuernavaca, where he had married Allene Ashby, then settled in Los Angeles. Following the birth of their son, Getty lost interest in her and her father convinced her to return to Germany with their child in 1929. After a protracted and contentious battle, their divorce was finalized in August 1932, with Adolphine receiving a huge sum for punitive damages and full custody of Ronald.
Ann Rork (1932–1936); two sons, John Paul Getty Jr. (1932–2003) and Gordon Peter Getty (born 1933). Getty was introduced to Rork when she was 14 years old, but she did not become his romantic partner until she was 21 in 1930. Because he was in the midst of his divorce from Adolphine, the couple had to wait two years before they married. He was largely absent during their marriage, staying for long stretches of time in Europe. She sued him for divorce in 1936 alleging emotional abuse and neglect. She described an incident while the two were abroad in Italy in which she claimed Getty forced her to climb to view the crater of Mount Vesuvius while she was pregnant with their first son. The court decided in her favor and she was awarded $2,500 per month alimony plus $1,000 each in child support for her sons.
Louise Dudley "Teddy" Lynch (1939–1958); one son, Timothy Ware Getty (1946–1958).
In 2013 at age 99, Getty's fifth wife, Louise, known as Teddy Getty Gaston, published a memoir reporting how Getty had scolded her for spending money too freely in the 1950s on the treatment of their six-year-old son, Timmy, who had become blind from a brain tumor. Timmy died at age 12, and Getty, living in England apart from his family who were in the U.S., did not attend the funeral. Gaston divorced Getty that year. Teddy Gaston died in April 2017 at the age of 103.
Getty was quoted as saying "A lasting relationship with a woman is only possible if you are a business failure," and, "I hate to be a failure. I hate and regret the failure of my marriages. I would gladly give all my millions for just one lasting marital success."
Kidnapping of grandson John Paul Getty III
In Rome on July 10, 1973, 'Ndrangheta kidnappers abducted Getty's 16-year-old grandson, John Paul Getty III, and demanded a $17 million (equivalent to $ in ) payment for his safe return. However, the family suspected a ploy by the rebellious teenager to extract money from his miserly grandfather. John Paul Getty Jr. asked his father for the money, but was refused, arguing that his 13 other grandchildren could also become kidnap targets if he paid.
In November 1973, an envelope containing a lock of hair and a human ear arrived at a daily newspaper. The second demand had been delayed three weeks by an Italian postal strike. The demand threatened that Paul would be further mutilated unless the victims paid $3.2 million. The demand stated "This is Paul's ear. If we don't get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits."
When the kidnappers finally reduced their demands to $3 million, Getty agreed to pay no more than $2.2 million (equivalent to $ in ), the maximum that would be tax-deductible. He lent his son the remaining $800,000 at four percent interest. Getty's grandson was found alive on December 15, 1973, in a Lauria filling station, in the province of Potenza, shortly after the ransom was paid. After his release, the younger Getty called his grandfather to thank him for paying the ransom but Getty refused to come to the phone. Nine people associated with 'Ndrangheta were later arrested for the kidnapping, but only two were convicted. Getty III was permanently affected by the trauma and became a drug addict. After a stroke, brought on by a cocktail of drugs and alcohol in 1981, Getty III was rendered speechless, nearly blind and partially paralyzed for the rest of his life. He died on February 5, 2011, at the age of 54.
Getty defended his initial refusal to pay the ransom on two points. He argued that his 13 other grandchildren could also become kidnap targets if he paid, and also stated, "The second reason for my refusal was much broader-based. I contend that acceding to the demands of criminals and terrorists merely guarantees the continuing increase and spread of lawlessness, violence and such outrages as terror-bombings, "skyjackings" and the slaughter of hostages that plague our present-day world."
Nine of the kidnappers were apprehended, including Girolamo Piromalli and Saverio Mammoliti, high-ranking members of the 'Ndrangheta, a Mafia organization in Calabria. Two of the kidnappers were convicted and sent to prison; the others were acquitted for lack of evidence, including the 'Ndrangheta bosses. Most of the ransom money was never recovered.
Reputation for frugality
Many anecdotal stories exist of Getty's reputed thriftiness and parsimony, which struck observers as comical, even perverse, because of his extreme wealth. The two most widely known examples are his reluctance to pay his grandson's $17 million kidnapping ransom, and a notorious pay-phone he had installed at Sutton Place. A darker incident was his fifth wife's claim that Getty had scolded her for spending too much on their terminally ill son's medical treatment, though he was worth tens of millions of dollars at the time. He was well known for bargaining on almost everything to obtain the lowest possible price, including suites at luxury hotels and virtually all purchases of artwork and real estate. In 1959, Sutton Place, a 72-room mansion, was purchased from George Sutherland-Leveson-Gower, 5th Duke of Sutherland, for £60,000, about half of what the Duke paid for it 40 years earlier.
Getty's secretary claimed that Getty did his laundry by hand because he didn't want to pay for his clothes to be laundered. When his shirts became frayed at the cuffs, he would trim the frayed part instead of purchasing new shirts.
Re-using stationery was another obsession of Getty's. He had a habit of writing responses to letters on the margins or back sides and mailing them back, rather than using a new sheet of paper. He also carefully saved and re-used manila envelopes, rubber bands and other office supplies.
When Getty took a group of friends to a dog show in London, he made them walk around the block for 10 minutes until the tickets became half-priced at 5 pm, because he didn't want to pay the full 5 shillings per head.
Getty moved to Sutton Place in part because the cost of living was cheaper than in London, where he had resided at the Ritz. He once boasted to American columnist Art Buchwald that it cost 10 cents for a rum and coke at Sutton Place, whereas at the Ritz it was more than a dollar.
Author John Pearson attributed part of Getty's extreme penny-pinching to the Methodist sensibility of Getty's upbringing, which emphasized modest living and personal economy. His business acumen was also a major factor in Getty's thriftiness. "He would allow himself no self-indulgence in the purchase of a place to live, a work of art, even a piece of furniture, unless he could convince himself that it would appreciate in value."
Getty claimed his frugality towards others was a response to people taking advantage of him and not paying their fair share. "It's not the money I object to, it's the principle of the thing that bothers me ..."
Coin-box telephone
Getty famously had a payphone installed at Sutton Place, helping to seal his reputation as a miser. Getty placed dial-locks on all the regular telephones, limiting their use to authorized staff, and the coin-box telephone was installed for others. In his autobiography, he described his reasons:
When speaking in a televised interview with Alan Whicker in February 1963, Getty said that he thought guests would want to use a payphone. After 18 months, Getty explained, "the in-and-out traffic flow at Sutton subsided. Management and operation of the house settled into a reasonable routine. With that, the pay-telephone [was] removed, and the dial-locks were taken off the telephones in the house."
Later years and death
On June 30, 1960, Getty threw a 21st birthday party for a relative of his friend, the 16th Duke of Norfolk, which served as a housewarming party for the newly purchased Sutton Place. Party goers were irritated by Getty's stinginess, such as not providing cigarettes and relegating everyone to using creosote portable toilets outside. At about 10 p.m. the party descended into pandemonium as party crashers arrived from London, swelling the already overcrowded halls and causing an estimated £20,000 in damage. A valuable silver ewer by the 18th century silversmith Paul de Lamerie was stolen, but returned anonymously when the London newspapers began covering the theft. The failure of the event made Getty the object of ridicule and he never threw another large party again.
Getty remained an inveterate hard worker, boasting at age 74 that he often worked 16 to 18 hours per day overseeing his operations across the world. The value of Getty Oil shares quadrupled during the Arab-Israeli Yom Kippur War of October 1973, which caused a worldwide oil shortage for years. Getty's earnings topped $25.8 million in 1975.
Getty's insatiable appetite for sex also continued into his 80s. He used an experimental drug, H3, to maintain his potency. Getty met the English interior designer Penelope Kitson in the 1950s and entrusted her with decorating his homes and the public rooms of the oil tankers he was launching. From 1960, Kitson resided in a cottage on the grounds of Sutton Place. Getty and Kitson maintained a platonic relationship and Getty held her in high respect and trust. Other mistresses who resided at Sutton Place included the married Mary Teissier, a distant cousin of the last Tsar of Russia, Lady Ursula d'Abo, who had close connections to the British Royal Family, and Nicaraguan-born Rosabella Burch.
The New York Times wrote of Getty's domestic arrangement: "[Getty] ended his life with a collection of desperately hopeful women, all living together in his Tudor mansion in England, none of them aware that his favorite pastime was rewriting his will, changing his insultingly small bequests: $209 a month to one, $1,167 to another." Only Kitson received a significant bequest upon Getty's death, receiving 5,000 shares of Getty Oil, which doubled in value during the 1980s, and a $1,167 monthly income.
Getty died of heart failure at the age of 83 on June 6, 1976, in Sutton Place near Guildford, Surrey. He was buried in Pacific Palisades, Los Angeles County, California at the Getty Villa. The gravesite is not open to the public.
Media portrayals
Christopher Plummer portrayed Getty in the 2017 film All the Money in the World, which dramatizes the kidnapping of his grandson. Getty was originally portrayed by Kevin Spacey, but after sexual misconduct allegations surfaced against Spacey ahead of the film's premiere, Plummer was cast to re-film his scenes. For his performance, Plummer received an Academy Award nomination for Best Supporting Actor.
The kidnapping is also dramatized in the first season of the American anthology drama series Trust, where Getty is portrayed by Donald Sutherland.
Quotations
J. Paul Getty has one entry in the 8th Edition of The Oxford Dictionary of Quotations.
“If you can actually count your money, then you are not really a rich man.”
Published works
Getty, J. Paul. The history of the bigger oil business of George F.S. F. and J. Paul Getty from 1903 to 1939. Los Angeles?, 1941,
Getty, J. Paul. Europe in the Eighteenth Century. [Santa Monica, Calif.]: privately printed, 1949,
Le Vane, Ethel, and J. Paul Getty. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe. London: W.H. Allen, 1955,
Getty, J. Paul. My Life and Fortunes. New York: Duell, Sloan & Pearce, 1963,
Getty, J. Paul. The Joys of Collecting. New York: Hawthorn Books, 1965,
Getty, J. Paul. How to be Rich. Chicago: Playboy Press, 1965,
Getty, J. Paul. The Golden Age. New York: Trident Press, 1968,
Getty, J. Paul. How to be a Successful Executive. Chicago: Playboy Press, 1971,
Getty, J. Paul. As I See It: The Autobiography of J. Paul Getty. Englewood Cliffs, N.J. : Prentice-Hall, 1976. ,
See also
List of richest Americans in history
List of wealthiest historical figures
References
Further reading
Hewins, Ralph. The Richest American: J. Paul Getty. New York: Dutton, 1960.
Lund, Robina. The Getty I Knew. Kansas City: Sheed Andrews and McMeel, 1977. .
Miller, Russell. The House of Getty. New York: Henry Holt, 1985. .
de Chair, Somerset Struben. Getty on Getty: a man in a billion. London: Cassell, 1989. .
Pearson, John. Painfully Rich: J. Paul Getty and His Heirs. London: Macmillan, 1995. .
Wooster, Martin Morse. Philanthropy Hall of Fame, J. Paul Getty. philanthropyroundtable.org.
External links
J. Paul Getty diaries, 1938–1946, 1948–1976 finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty family collected papers, 1880s–1989, undated (bulk 1911–1977) finding aid, Getty Research Institute, Los Angeles.
J. Paul Getty and Ashby sisters papers, 1926-1992, finding aid, Getty Research Institute, Los Angeles.
1892 births
1976 deaths
20th-century American businesspeople
Alumni of Magdalen College, Oxford
American art collectors
American autobiographers
American business writers
American businesspeople in the oil industry
American billionaires
American emigrants to England
American people of Scotch-Irish descent
American philanthropists
Businesspeople from Los Angeles
Businesspeople from Minneapolis
Businesspeople from Tulsa, Oklahoma
English people of Irish descent
Museum founders
J. Paul
J
John H. Francis Polytechnic High School alumni
Philanthropists from California
University of California, Berkeley alumni
| true |
[
"Pietro Participazio (reigned 939–942) was, by tradition, the twentieth Doge of Venice of the Republic of Venice.\n\nHistory\nHe was son of the eighteenth Doge, Orso II Participazio.\n\nIt seems that during his reign he did nothing worthy of note; he died three years after his election and was buried in the Felice church Saint di Ammiana, where his father was buried before him.\n\nReferences\nMedieval Lands Project\n\n10th-century Doges of Venice\n942 deaths\nHouse of Participazio",
"Edward Michael Wigglesworth (1691/1692 – 1765) was a clergyman, teacher and theologian in Colonial America. His father was clergyman and author Michael Wigglesworth (1631–1705).\n\nLife \nEdward Wigglesworth was born in Cambridge, Massachusetts. He graduated Harvard College in 1710, and in 1722 he was appointed to the newly created Hollis Chair, thereby becoming the first divinity professor commissioned in the American colonies. He was made a Doctor of Divinity in 1730; he died in Cambridge on January 16, 1765 at age 73 after holding the chair for more than 42 years.\n\nHe married, first, Sarah Leverett, daughter of Harvard College President John Leverett, in 1726; she died without issue in 1727, and was buried in her father's crypt (her stone, by the Lamson shop, is inset into the side). He married his second wife, Rebecca Coolidge (who died in 1754) in 1729. Their children were Rebecca Wigglesworth (1730–1783) who married Stephen Sewall (1734-1804) who was also an educator; Edward Wigglesworth (1732–1794) who became the next Hollis professor at Harvard; Mary Wigglesworth (1735–1758); and Sybil Wigglesworth (1736–1740). His son Edward had a son also named Edward (Stephen) Wigglesworth (1771-1794), and a son Thomas Wigglesworth (1775–1855) who had son also named Edward Wigglesworth (1804–1876).\n\nHis grandfather Edward Wigglesworth was buried at the Phipps Street Burying Ground located in the neighborhood of Charlestown in Boston, Massachusetts, where the family first landed on arrival from Old England. His father Rev. Michael, the poet, is buried in Malden. He is buried in a crypt in the Old Cambridge burying ground in Cambridge; his grandson Stephen Sewall (d. 1768, Ae. S. 11 mo.) is buried in the same tomb.\n\nSee also \n North America\n The United States of America\n\nReferences \n\n1693 births\n1765 deaths\nHarvard College alumni\nHarvard University faculty\nPeople from colonial Boston\nBurials in Massachusetts\nAmerican theologians"
] |
[
"E. T. A. Hoffmann",
"The provinces"
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
|
What happened to Hoffmann in the provinces?
| 1 |
What happened to Hoffmann in the provinces?
|
E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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"Richard Horace Hoffmann (1887–1967) was a New York psychiatrist with a reputation for specializing in the treatment of patients with alcoholism. He was known for treating high-profile patients and was often referred to in the media as a \"Park Avenue psychiatrist\". Among his more famous patients was F. Scott Fitzgerald.\n\nCareer\n\nPsychiatric practice\nAlthough Hoffmann treated both rich and poor he became known for his high-profile patients and was often referred to in the media as a \"Park Avenue psychiatrist\". Hoffmann studied psychiatry in Vienna shortly after the turn of the century. He continued as a working psychiatrist into his seventies. In the 1940s, he was psychiatric advisor to the District Attorney of Nassau County. Among the more famous cases on which he consulted were the Creighton-Applegate poison case and the Lindbergh kidnapping. He was a frequent consultant on the stories of the day to the New York city media. Hoffmann's name was often spelled in media accounts of the day, without the double \"n\", as \"Hoffman\".\n\nDuring his work on Winter Carnival (film) in 1939, F. Scott Fitzgerald went on an alcoholic binge and was treated by Hoffmann. Hoffmann had met Scott and Zelda Fitzgerald in Paris in 1925. He admired Scott's writing, knew about his drinking, and said he would do what he could. One afternoon Sheilah Graham came into the room after a session and was dismayed to see that Scott had managed to reverse roles: He was listening to Dr. Hoffmann's problems and happily psychoanalyzing his psychiatrist.\n \nFor two years Hoffmann treated underworld crime figure Frank Costello. The news media became aware that Hoffmann was treating Costello after Costello held fundraisers for the Salvation Army which included several judges among the invitees. Hoffmann admitted freely to the press that he was treating Costello and said he had advised the gangster to associate with a better class of people. Angered that Hoffmann had broken doctor-patient confidentiality by speaking publicly of his treatment, Costello severed their relationship saying it was actually he who had helped Hoffmann meet a better class of people.\n\nOnce composer Richard Rodgers asked Hoffmann to visit his friend Lorenz Hart who was having problems with alcoholism and who had a strong aversion to being treated by psychiatrists. Hart was in the hospital at the time and Hoffmann said he would visit Hart in the guise of a hospital staff member. At some point, Hoffmann dropped the pretense and began asking Hart questions such as why he liked oversized chairs and offices and if he had a Napoleon complex. Hart rejected Hoffmann's offer of treatment, phoning Rogers to say, \"Your witch-doctor was in to see me.\"\n\nIn 1952, Hoffmann was sued by Mrs. Mabel Ingalls, sister of Eleanor Morgan Safterlee, granddaughter of J.P. Morgan, who claimed Hoffmann and attorney Sol A. Rosenblatt manipulated the writing of her sister's will for personal gain. The case received national media attention when the Rosenblatt was wounded in a shooting by an unknown assailant during the course of the trial. The will had left the entire estate, estimated up to $200,000, to Rosenblatt. Media reported witnesses who said that before Safterlee died of cancer she told them she was willing her estate to Rosenblatt so he could ensure Hoffmann receive it. The witness said she was infatuated with Hoffmann, calling him \"Dickie boy\" and \"darling Dick\". However, another witness said she didn't want Hoffmann to receive it. Hoffmann and Rosenblatt denied the charges and the presiding judge ruled there was no evidence of undue influence.\n\nIn the 1960s, Hoffmann was President of the Institute for Human-Animal Relationship, an organization which promoted the psychological and therapeutic value of pets.\n\nIn the 1960s, due to a series of setbacks Hoffmann fell on hard times. After the death of his son from alcoholism, accusations of his using undue influence on a patient for personal gain, his second wife having left him, and the loss of his Park Avenue house, his once-lucrative practice began to decline. He was eventually forced to move from an elegant Park Avenue office to a basement office on the East Side with only his loyal secretary remaining to assist his weakening memory.\n\nMedia work\nIn 1943, Hoffmann was on the radio program ‘‘Mediation Board’’.\n\nAs a well known and respected psychiatrist, Hoffmann wrote blurbs or introductions to novels of a controversial nature. For example, pulp fiction novels to legitimize their sexual topics, such as with Theodore Pratt's novel Tormented dealing with nymphomania, \n or for more serious novels to avoid censorship issues such as with Ann Aldrich's lesbian novel We, Too, Must Love.\n\nHoffmann was a panelist on the TV game show What's My Line? appearing on three episodes early in the show's existence in 1950, including the series premiere on February 2. In 1950, Hoffmann hosted an ABC radio drama providing psychological analysis and insight into the criminal acts depicted. One journalist criticized Hoffmann for \"trying to add a little respectability to these little melodramas\" and \"putting his own profession in disrepute\".\n\nIn 1954, he appeared in the film Violated as a psychiatrist. The film was described by journalist Dorothy Kilgallen as a “lurid flicker”,\n\nPersonal life\nHoffmann was born to Dr. E. Franz Hoffmann, psychiatrist, and wife in 1887. Hoffmann graduated from Cornell University in 1908. He was married and divorced twice. His first marriage was to actress Janet Beecher in August, 1919. Hoffmann was close friends with actor Charles Coburn.\n\nHoffmann was ethnically Jewish, but was an atheist. When asked by a minister if he was an atheist Hoffmann replied, “I don’t believe in Him, but I sure hope He believes in me.” He died at age 80.\n\nHoffmann had one son, Richard Jr., who was a decorated bombardier in World War II, but who died as a young man of alcoholism. His son was divorced in 1952 from Christine Dodge Cromwell and they had one son. Cromwell was an heiress to her grandfather, founder of Dodge motor company, and divorced by charging he was only interested in her money. A year later Hoffmann's son remarried to Judith Ann Dexter. \n\n \nIn 1942, Hoffmann's residence at 870 Park Avenue, NY was rebuilt in a \"art moderne style\" by prominent architect Ely Jacques Kahn. \nIn 1946, after a traffic accident actress Gloria Swanson asked that she be taken to Dr. Hoffmann's home instead of the hospital. In the 1960s, Hoffmann divorced and lost his Park Avenue home which was one factor contributing to the decline of his career.\n\nBooks\n\nReferences\n\n1887 births\n1967 deaths\nContestants on American game shows\nAmerican psychiatrists\nAmerican people of Jewish descent\nPhysicians from New York City\nCornell University alumni",
"The Serapion Brethren (Die Serapionsbrüder) is the name of a literary and social circle, formed in Berlin in 1818 by the German romantic writer E. T. A. Hoffmann and several of his friends. The Serapion Brethren also is the title of a four-volume collection of Hoffmann's novellas and fairytales that appeared in 1819, 1820, and 1821.\n\nThe literary circle\n\nSeraphin Brethren\n\nIn 1814, Hoffmann returned to Berlin from Dresden and Leipzig, where he had been working as an orchestra conductor and opera director, to return to work as a Prussian civil servant. In that year, he and a group of friends formed an association for the purpose of reading from and discussing works of literature (primarily their own). The group first met on October 12, which happened to be the feast day of Saint Seraphin of Montegranaro. The friends therefore decided to refer to their group as an “order” and to give it the name The Seraphin Brethren [Die Seraphinenbrüder]. After about two years of gatherings at Hoffmann's home or the Café Manderlee on the famous boulevard Unter den Linden, the circle gradually dissolved, partly, it is thought, because of the departure of one of its members, Adelbert von Chamisso, for a sailing trip around the world with the Russian Rurik Expedition, which had been organized to find a Northwest Passage (Kremer, 1999, 165).\n\nSerapion Brethren\n\nOn November 13, 1818, Hoffmann's publisher gave him a sizable advance on the publication of a multivolume collection of his novellas and fairytales. To celebrate this happy event (Hoffmann was quite impecunious at the time), the author invited his friends from the old Seraphin Brethren to his home on November 14 for the purpose of celebrating the advance and reviving the literary group. Another reason for celebration was the return of Chamisso from his travels. Hoffmann's wife Micha brought the calendar, and the date was seen to be the feast day of Saint Serapion. Accordingly, the old order was rechristened The Serapion Brethren (Die Serapionsbrüder) (the Catholic list of saints [see “Catholic Online” at WWW.catholic.org]) shows eleven Saint Serapions; the one after which the group was named was probably Saint Serapion the Sindonite, a fourth-century Egyptian hermit and monk) (Kaiser 1988, 64; Pikulik 2004, 135).\n\nThe Serapion Brethren included the following members:\n\nHoffmann's lifelong friend and occasional benefactor Theodor Gottlieb von Hippel\nHoffmann's colleague in the civil service and first biographer Julius Eduard Hitzig\nPoet Friedrich de la Motte Fouqué\nNovelist Adelbert von Chamisso\nDramatist, novelist, and merchant Karl Wilhelm Salice-Contessa\nPrussian military officer Friedrich von Pfuel\nPhysician David Ferdinand Koreff\nTheologian Johann Georg Seegemund\n\nOthers participated from time to time in the group's meetings as guests.\n\nThe book title\n\nIn February 1818, the Berlin publisher Georg Reimer offered to publish a compilation of Hoffmann's previously published but scattered novellas and fairytales. Hoffmann suggested uniting the disparate works by presenting them in a fictional framework of readings and conversations among a group of friends in the manner of Ludwig Tieck’s Phantastus (Kremer 1999, 164) (and, although Hoffmann did not say this, in the manner of Giovanni Boccaccio’s The Decameron, albeit in an urban rather than a pastoral setting). For the collection, Hoffmann first suggested to Reimer the title The Seraphin Brethren. Collected Novellas and Fairytales, after the old literary group. Once the group was reconstituted, however, Hoffmann dropped the subtitle and called the compilation simply The Serapion Brethren (Segebrecht 2001, 1213).\n\nIn eight meetings, the friends in the fictional framework narrative, Ottmar, Theodor, Lothar, Cyprian, Vinzenz, and Sylvester, orally present a total of 28 stories (only 19 have titles) and comment in some detail on their quality and on whether or not they adhere to a certain “Serapion Principle” that becomes clear to the reader as the narrative progresses. Attempts have been made, especially in older scholarly works, to assign the names of some of the real Serapion Brethren to the fictitious ones. Ellinger (1925, 40), for example, sees Ottmar, Theodor, Sylvester, and Vinzenz, as Hitzig, Hoffmann, Contessa, and Koreff, respectively. In reality, of course, all the narrators are Hoffmann himself, who, after all, was writing fiction (Steinecke 1997, 115).\n\nReferences\n Ellinger G., editor. E.T.A. Hoffmanns Werke, Vol. 5, Berlin and Leipzig, Deutsches Verlagshaus Bong & Co., 1925.\n Ewing, Alexander (translator), Hoffmann, Ernst Theodor Wilhelm, The Serapion Brethren (in two volumes), G. Bell & Sons: London, 1886-92.\n Feldges B. & Stadler U., editors. E.T.A. Hoffmann: Epoche-Werk-Wirkung, Munich: C.H. Beck’sche Elementarbücher, 1986. \n Kaiser G.R., editor. E.T.A. Hoffmann (Sammlung Metzler, Vol. 243), Stuttgart: J.B. Metzlersche Verlagsbuchhandlung, 1988. \n Kremer D. E.T.A. Hoffmann. Erzählungen und Romane, Berlin: Erich Schmidt Verlag, 1999. \n Pikulik L. Die Serapions-Brüder. In: Saße G., editor. Interpretationen. E. T. A. Hoffmann. Romane und Erzählungen, Stuttgart: Philipp Reclam jun., 2004. \n Segebrecht W., editor. E.T.A. Hoffmann. Die Serapions-Brüder. In: Steinecke H. & Segebrecht W., editors. E.T.A. Hoffmann. Sämtliche Werke in sechs Bänden, Vol. 4, Berlin: Deutscher Klassiker Verlag, 2001. \n Steinecke H. E.T.A. Hoffmann, Stuttgart: Philipp Reclam jun., 1997. \n\nGerman literature\nLiterary societies\nLiterary circles\nOrganizations established in 1818\nE. T. A. Hoffmann"
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[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\""
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Why caused that?
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Why caused Hoffman to become dissolute?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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Masovia. This was the first time he had lived without supervision by members of his family, and
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"\"Why\" is a song written by Rodney Clawson, Vicky McGehee, and Big & Rich's John Rich and recorded by American country music artist Jason Aldean. It was released in November 2005 as the second single from Aldean’s 2005 self-titled debut album. The song became Aldean's first number one hit on the U.S. Billboard Hot Country Songs chart.\n\nContent\nA mid-tempo ballad backed by electric guitar, the song centralizes on the male character who has finally come to the realization that he has caused his lover emotional pain. He then asks himself why he lets himself treat her wrongly, and why he takes so long to show his feelings for her.\n\nCritical reception\nKevin John Coyne of Country Universe gave the song a positive review, saying that it is \"interesting\" and sounds \"very real and sincere\".\n\nMusic video\nThe music video was directed by Wes Edwards. It premiered in the week of November 14, 2005.\n\nChart performance\n\"Why\" debuted at number 49 on the U.S. Billboard Hot Country Songs for the week of December 3, 2005. As of April 2015, the song has sold 675,000 digital copies in the United States.\n\nYear-end charts\n\nOther versions\nCountry music singer Shannon Brown recorded the song for her 2006 album Corn Fed.\n\nReferences\n\n2005 singles\n2005 songs\nCountry ballads\n2000s ballads\nJason Aldean songs\nSongs written by John Rich\nSongs written by Rodney Clawson\nSongs written by Vicky McGehee\nSong recordings produced by Michael Knox (record producer)\nMusic videos directed by Wes Edwards\nBBR Music Group singles",
"\"Why?\" is a protest song by American rapper Jadakiss, and the second single released from his second solo album Kiss of Death. It was produced by Havoc. It was a crossover hit in several countries. The song ranked #64 in About.com's Top 100 Rap Songs. The remix produced by Elite with a new chorus was later released featuring Anthony Hamilton, Styles P, Common and Nas. Another remix was released, titled \"Why 2K7\", featuring Lil Wayne. This remix is available on DJ 007's Beast of the East, a collaboration mixtape with Fabolous and Jadakiss.\n\nAlthough not a remix nor a sequel, Jadakiss released the song \"What If\" that almost follows the same concept as \"Why\". All of the verses start with the latter title. It included Nas (who - as mentioned above - was featured in the remix of \"Why\").\n\nControversy\nJadakiss attracted some controversy and condemnation from the political commentator Bill O'Reilly, who labeled him a \"smear merchant\" because of the lyrics in the song, which state Jadakiss' belief that the September 11 attacks were an inside job, or that then-President George W. Bush caused or allowed the attacks:\n\n\"Bush\" is censored in clean versions of the song. The music video shows a man holding up a picket sign reading \"BUCK FUSH\" - a spoonerism of \"FUCK BUSH\".\n\nO'Reilly took the position that President Bush should be allowed to sue Jadakiss for slander. The track was eventually banned on some radio stations or played with the lyrics in question censored.\n\nMusic Video\n\nIn the music video, Jadakiss raps while appearing as a gangsta, a news anchor, and a homeless man, and also acting out some of the lyrics. In the third verse, Jada appears wearing a white t-shirt with the word 'why' on it, leading a protest. Several people also wear the same shirt. Anthony Hamilton also appears, first singing the chorus separately, then as part of the march at the end. In the crowd, a man is shown holding up the picket sign reading \"BUCK FUSH.\"\n\nTrack listing\n\"Why\" (album version)\n\"Why\" Remix feat. Kool Savas\n\"Kiss of Death\" (main version)\n\"The Champ Is Here\" (explicit version)\n\"Why\" (video)\n\nCharts\n\nReferences\n\n2004 singles\nAnthony Hamilton (musician) songs\nJadakiss songs\nMusic videos directed by Sanaa Hamri\nSong recordings produced by Havoc (musician)\nSongs written by Havoc (musician)\nSongs written by Jadakiss\nRuff Ryders Entertainment singles\n2004 songs\nPolitical rap songs\nSongs written by Anthony Hamilton (musician)"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and"
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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How did he deal with that?
| 3 |
How did Hoffman deal with Masovia and living without supervision by members of his family?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"Elvis Perkins in Dearland is the second studio album by Elvis Perkins, and his first with backing band Elvis Perkins in Dearland, released on March 10, 2009, on XL Recordings.\n\nUpon release, Perkins stated that he did not wish to record another album like its predecessor:I'd no interest in making Ash Wednesday II. After the dust had settled I was weary, worn and confused about what had happened, especially that people thought it was so personal. I had a talk with myself as to how I might deal with things second time around. Part of this involved making a band record removed from self and giving three other dudes a say. It's a broader vision.\n\nTrack listing \nAll songs written by Elvis Perkins\n \"Shampoo\"\n \"Hey\"\n \"Hours Last Stand\"\n \"I Heard Your Voice in Dresden\"\n \"Send My Fond Regards to Lonelyville\"\n \"I'll Be Arriving\"\n \"Chains, Chains, Chains\"\n \"Doomsday\"\n \"123 Goodbye\"\n \"How's Forever Been Baby\"\n\nChart performance\n\nReferences\n\n2009 albums\nElvis Perkins albums\nXL Recordings albums",
"\"How Do I Deal\" is a song by American actress Jennifer Love Hewitt from the soundtrack to the film I Still Know What You Did Last Summer. The song was released as a single on November 17, 1998, with an accompanying music video. The single became Hewitt's one and only appearance on the US Billboard Hot 100 singles chart, peaking at number 59 in a seven-week run. Although not a big success in America, the single reached number five in New Zealand and peaked at number eight in Australia, where it is certified gold.\n\nTrack listings\nUS CD, 7-inch, and cassette single\n \"How Do I Deal\" (single version) – 3:23\n \"Try to Say Goodbye\" (performed by Jory Eve) – 3:36\n\nEuropean CD single\n \"How Do I Deal\" – 3:24\n \"Sugar Is Sweeter\" (performed by CJ Bolland) – 5:34\n\nAustralian CD single\n \"How Do I Deal\" – 3:23\n \"Sugar Is Sweeter\" (Danny Saber Remix featuring Justin Warfield, performed by CJ Bolland) – 4:57\n \"Try to Say Goodbye\" (performed by Jory Eve) – 3:35\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n143 Records singles\n1998 songs\n1999 singles\nJennifer Love Hewitt songs\nI Know What You Did Last Summer (franchise)\nMusic videos directed by Joseph Kahn\nSong recordings produced by Bruce Fairbairn\nSong recordings produced by David Foster\nSongs written for films\nWarner Records singles"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball."
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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Did he do the caricatures?
| 4 |
Did Hoffman do the caricatures?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"The following is a list of caricatures published by the British magazine Vanity Fair (1868–1914).\n\nCaricatures \nList of Vanity Fair (British magazine) caricatures (1868–1869)\nList of Vanity Fair (British magazine) caricatures (1870–1874)\nList of Vanity Fair (British magazine) caricatures (1875–1879)\nList of Vanity Fair (British magazine) caricatures (1880–1884)\nList of Vanity Fair (British magazine) caricatures (1884–1889)\nList of Vanity Fair (British magazine) caricatures (1890–1894)\nList of Vanity Fair (British magazine) caricatures (1895–1899)\nList of Vanity Fair (British magazine) caricatures (1900–1904)\nList of Vanity Fair (British magazine) caricatures (1905–1909)\nList of Vanity Fair (British magazine) caricatures (1910–1914)\n\nArtists\n\nCategories\n\n \nCaricature\nUnited Kingdom-related lists\nLists of mass media in the United Kingdom\nLists of magazines published in the United Kingdom",
"A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or through other artistic drawings (compare to: cartoon). Caricatures can be insulting or complimentary and can serve a political purpose or be drawn solely for entertainment. Caricatures of politicians are commonly used in editorial cartoons, while caricatures of movie stars are often found in entertainment magazines.\n\nIn literature, a caricature is a distorted representation of a person in a way that exaggerates some characteristics and oversimplifies others.\n\nEtymology \nThe term is derived for the Italian caricare—to charge or load. An early definition occurs in the English doctor Thomas Browne's Christian Morals, published posthumously in 1716.\n\nwith the footnote:\n\nThus, the word \"caricature\" essentially means a \"loaded portrait\". Until the mid 19th century, it was commonly and mistakenly believed that the term shared the same root as the French 'charcuterie', likely owing to Parisian street artists using cured meats in their satirical portrayal of public figures.\n\nHistory \n\nSome of the earliest caricatures are found in the works of Leonardo da Vinci, who actively sought people with deformities to use as models. The point was to offer an impression of the original which was more striking than a portrait.\n\nCaricature took a road to its first successes in the closed aristocratic circles of France and Italy, where such portraits could be passed about for mutual enjoyment.\n\nWhile the first book on caricature drawing to be published in England was Mary Darly's A Book of Caricaturas (c. 1762), the first known North American caricatures were drawn in 1759 during the battle for Quebec. These caricatures were the work of Brig.-Gen. George Townshend whose caricatures of British General James Wolfe, depicted as \"Deformed and crass and hideous\" (Snell), were drawn to amuse fellow officers. Elsewhere, two great practitioners of the art of caricature in 18th-century Britain were Thomas Rowlandson (1756–1827) and James Gillray (1757–1815). Rowlandson was more of an artist, and his work took its inspiration mostly from the public at large. Gillray was more concerned with the vicious visual satirisation of political life. They were, however, great friends and caroused together in the pubs of London.\n\nIn a lecture titled The History and Art of Caricature, the British caricaturist Ted Harrison said that the caricaturist can choose to either mock or wound the subject with an effective caricature. Drawing caricatures can simply be a form of entertainment and amusement – in which case gentle mockery is in order – or the art can be employed to make a serious social or political point. A caricaturist draws on (1) the natural characteristics of the subject (the big ears, long nose, etc.); (2) the acquired characteristics (stoop, scars, facial lines etc.); and (3) the vanities (choice of hair style, spectacles, clothes, expressions, and mannerisms).\n\nNotable caricaturists \n\n Sir Max Beerbohm (1872–1956, British), created and published caricatures of the famous men of his own time and earlier. His style of single-figure caricatures in formalized groupings was established by 1896 and flourished until about 1930. His published works include Caricatures of Twenty-five Gentlemen (1896), The Poets' Corner (1904), and Rossetti and His Circle (1922). He published widely in fashionable magazines of the time, and his works were exhibited regularly in London at the Carfax Gallery (1901–18) and Leicester Galleries (1911–57).\n George Cruikshank (1792–1878, British) created political prints that attacked the royal family and leading politicians. He went on to create social caricatures of British life for popular publications such as The Comic Almanack (1835–1853) and Omnibus (1842). Cruikshanks' New Union Club of 1819 is notable in the context of slavery. He also earned fame as a book illustrator for Charles Dickens and many other authors.\n Honoré Daumier (1808–1879, French) created over 4,000 lithographs, most of them caricatures on political, social, and everyday themes. They were published in the daily French newspapers (Le Charivari, La Caricature etc.)\n Mort Drucker (1929-2020, American) joined Mad in 1957 and became well known for his parodies of movie satires. He combined a comic strip style with caricature likenesses of film actors for Mad, and he also contributed covers to Time. He has been recognized for his work with the National Cartoonists Society Special Features Award for 1985, 1986, 1987, and 1988, and their Reuben Award for 1987.\n Alex Gard (1900–1948, Russian) created more than 700 caricatures of show business celebrities and other notables for the walls of Sardi's Restaurant in the theater district of New York City: the first artist to do so. Today the images are part of the Billy Rose Theatre Collection of The New York Public Library for the Performing Arts.\n Al Hirschfeld (1903–2003, American) was best known for his simple black and white renditions of celebrities and Broadway stars which used flowing contour lines over heavy rendering. He was also known for depicting a variety of other famous people, from politicians, musicians, singers and even television stars like the cast of Star Trek: The Next Generation. He was even commissioned by the United States Postal Service to provide art for U.S. stamps. Permanent collections of Hirschfeld's work appear at the Metropolitan Museum of Art and the Museum of Modern Art in New York, and he boasts a star on the St. Louis Walk of Fame.\n Sebastian Krüger (1963, German) is known for his grotesque, yet hyper-realistic distortions of the facial features of celebrities, which he renders primarily in acrylic paint, and for which he has won praise from The Times. He is well known for his lifelike depictions of The Rolling Stones, in particular, Keith Richards. Krüger has published three collections of his works, and has a yearly art calendar from Morpheus International. Krüger's art can be seen frequently in Playboy magazine and has also been featured in the likes of Stern, L’Espresso, Penthouse, and Der Spiegel and USA Today. He has recently been working on select motion picture projects.\n David Levine (1926–2009, American) is noted for his caricatures in The New York Review of Books and Playboy magazine. His first cartoons appeared in 1963. Since then he has drawn hundreds of pen-and-ink caricatures of famous writers and politicians for the newspaper.\n Sam Viviano (1953, American) has done much work for corporations and in advertising, having contributed to Rolling Stone, Family Weekly, Reader's Digest, Consumer Reports, and Mad, of which he is currently the art director. Viviano's caricatures are known for their wide jaws, which Viviano has explained is a result of his incorporation of side views as well as front views into his distortions of the human face. He has also developed a reputation for his ability to do crowd scenes. Explaining his twice-yearly covers for Institutional Investor magazine, Viviano has said that his upper limit is sixty caricatures in nine days.\n\nComputerization \n\nThere have been some efforts to produce caricatures automatically or semi-automatically using computer graphics techniques. For example, a system proposed by Akleman et al. provides warping tools specifically designed toward rapidly producing caricatures. There are very few software programs designed specifically for automatically creating caricatures.\n\nComputer graphic system requires quite different skill sets to design a caricature as compared to the caricatures created on paper. Thus, using a computer in the digital production of caricatures requires advanced knowledge of the program's functionality. Rather than being a simpler method of caricature creation, it can be a more complex method of creating images that feature finer coloring textures than can be created using more traditional methods.\n\nA milestone in formally defining caricature was Susan Brennan's master's thesis in 1982. In her system, caricature was formalized as the process of exaggerating differences from an average face. For example, if Prince Charles has more prominent ears than the average person, in his caricature the ears will be much larger than normal. Brennan's system implemented this idea in a partially automated fashion as follows: the operator was required to input a frontal drawing of the desired person having a standardized topology (the number and ordering of lines for every face). She obtained a corresponding drawing of an average male face. Then, the particular face was caricatured simply by subtracting from the particular face the corresponding point on the mean face (the origin being placed in the middle of the face), scaling this difference by a factor larger than one, and adding the scaled difference back onto the mean face.\n\nThough Brennan's formalization was introduced in the 1980s, it remains relevant in recent work. Mo et al. refined the idea by noting that the population variance of the feature should be taken into account. For example, the distance between the eyes varies less than other features, such as the size of the nose. Thus even a small variation in the eye spacing is unusual and should be exaggerated, whereas a correspondingly small change in the nose size relative to the mean would not be unusual enough to be worthy of exaggeration.\n\nOn the other hand, Liang et al. argue that caricature varies depending on the artist and cannot be captured in a single definition. Their system uses machine learning techniques to automatically learn and mimic the style of a particular caricature artist, given training data in the form of a number of face photographs and the corresponding caricatures by that artist. The results produced by computer graphic systems are arguably not yet of the same quality as those produced by human artists. For example, most systems are restricted to exactly frontal poses, whereas many or even most manually produced caricatures (and face portraits in general) choose an off-center \"three-quarters\" view. Brennan's caricature drawings were frontal-pose line drawings. More recent systems can produce caricatures in a variety of styles, including direct geometric distortion of photographs.\n\nCaricature advantage \nBrennan's caricature generator was used to test recognition of caricatures. Rhodes, Brennan and Carey demonstrated that caricatures were recognised more accurately than the original images. They used line drawn images but Benson and Perrett showed similar effects with photographic quality images. Explanations for this advantage have been based on both norm-based theories of face recognition and exemplar-based theories of face recognition.\n\nModern use \n\nBeside the political and public-figure satire, most contemporary caricatures are used as gifts or souvenirs, often drawn by street vendors. For a small fee, a caricature can be drawn specifically (and quickly) for a patron. These are popular at street fairs, carnivals, and even weddings, often with humorous results.\n\nCaricature artists are also popular attractions at many places frequented by tourists, especially oceanfront boardwalks, where vacationers can have a humorous caricature sketched in a few minutes for a small fee. Caricature artists can sometimes be hired for parties, where they will draw caricatures of the guests for their entertainment.\n\nMuseums\nThere are numerous museums dedicated to caricature throughout the world, including the Museo de la Caricatura of Mexico City, the Muzeum Karykatury in Warsaw, the Caricatura Museum Frankfurt, the Wilhelm Busch Museum in Hanover and the Cartoonmuseum in Basel. The first museum of caricature in the Arab world was opened in March, 2009, at Fayoum, Egypt.\n\nSee also \n List of caricaturists\n Cartoon\n Controversial newspaper caricatures\nDarktown Comics\n Jyllands-Posten Muhammad cartoons controversy\n Persona\n Physiognomy\n Satire\n Zoomorphism\n Arab Cartoon Award\n Meme\n\nReferences\n\nExternal links \n\n International Society of Caricature Artists (ISCA) Official site of the International Society of Caricature Artists – a non-profit association devoted to the art of caricature (Formerly the National Caricaturist Network (NCN))\nDaumier Drawings, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which focuses on this great caricaturist"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,"
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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What happened after the complaints?
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What happened after the complaints that were made to the authorities in Berlin?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
| 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",
"llan Harari (; January 7, 1959) is a retired Israel Defense Forces brigadier general who served as chief education officer of the Education and Youth Corps.\n\nHarari served in various combat positions, including a command position in the Nahal Brigade and as a battalion commander in the Golani Brigade. On September 22, 2006, he announced his retirement and stated that Israel had lost the Lebanon War. General Yiftah Ron-Tal voiced the same opinion. Israel's Chief of Staff Dan Halutz disputed this assessment.\n\nAs head of a project to identify acts of heroism during the war, Harari said: \"We heard about the complaints, the difficulties, the confusion, but in all that, there are plenty of heroic tales ... and these should be elevated so that every division in the IDF knows what happened there...\"\n\nReferences\n\nLiving people\nIsraeli generals\nPeople from Tel Aviv\nYear of birth missing (living people)"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland ("
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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What happened once he was promoted?
| 6 |
What happened once Hoffman was promoted?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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"Tefo Maipato (born 9 March 1986) is a Lesotho retired footballer who is last known to have played as a midfielder for Bantu.\n\nCareer\n\nAt the age of 16, Maipato joined the youth academy of South African top flight side Orlando Pirates, where he said, ¨When I came home it was because I was tired of waiting for something that wasn’t there... (The) coaches there had said that by 2006 I would be promoted to the first team but I don’t know what happened. It was painful to see players that I played with get promoted while I was stuck in the reserves.¨ In 2009, he signed for Bantu in Lesotho.\n\nReferences\n\nExternal links\n\n \n\nLesotho footballers\nLiving people\nExpatriate soccer players in South Africa\n1986 births\nAssociation football midfielders\nLesotho international footballers",
"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"
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[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland (",
"What happened once he was promoted?",
"where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before"
] |
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before what?
| 7 |
Hoffman visited the place to arrange lodging before what?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska).
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"What Was Before () is a 2010 novel by the German writer Martin Mosebach. Through a series of vignettes, it tells the story of a man from the affluent suburbs of Frankfurt, who is asked by his girlfriend what his life was like before they met. An English translation by Kári Driscoll was published in 2014.\n\nReception\nPublishers Weekly wrote: \"Mosebach's charming, exuberant narrator is not be trusted, and the novel calls into question our notions of memory. Mosebach's writing is florid, tinged with a biting wit. ... Irreverent, playful, and intricate, Mosebach's book is a deconstruction of how we choose to tell stories.\"\n\nReferences\n\nExternal links\n What Was Before at the German publisher's website \n What Was Before at the British publisher's website\n\n2010 German novels\nFrankfurt in fiction\nGerman-language novels",
"\"What's a Girl to Do?\" is the follow-up single to the previous Australian hit \"Sister\" by Australian sisters/band Sister2Sister. The song reached number five in Australia, number 25 in New Zealand, and number 61 in the United Kingdom. It is featured on the 2000 teen film Bring It On.\n\nChart performance\nIn Australia, the single debuted at number 10, staying there for two weeks before falling to number 11. It then climbed to its peak of number five and stayed there for two weeks before falling out of and rising back into the top 50. It spent a total of 20 weeks (like its predecessor) in the top 50.\n\nIn New Zealand the single debuted at number 40 before falling to number 44, then peaking at number 25 and falling out the next week. It then re-entered two weeks later at number 30, then fell out for the last time, bringing its top 50-week total to four.\n\nIn the United Kingdom, the single debuted at number 61, and fell out the next week.\n\nTrack listings\nAustralian CD single\n \"What's a Girl to Do?\"\n \"What's a Girl to Do?\" (Urban Mix)\n \"Sister\" (Urban Mix)\n \"Sister\" (Tuff Twins Mix)\n \"Falling for You\"\n\nUK CD1\n \"What's a Girl to Do?\"\n \"What's a Girl to Do?\" (Allmighty Remix radio edit)\n \"Falling for You\"\n \"What's a Girl to Do?\" (Miami video)\n\nUK CD2\n \"What's a Girl to Do?\"\n \"What's a Girl to Do?\" (John 00 Fleming Remix)\n \"What's a Girl to Do?\" (Urban Mix)\n \"What's a Girl to Do?\" (Australian video)\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n1999 songs\n2000 singles\nMushroom Records singles\nSister2Sister songs\nSongs written by Pam Reswick"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland (",
"What happened once he was promoted?",
"where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before",
"before what?",
"before returning to Posen where he married \"Mischa\" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska)."
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
|
Did they have any children?
| 8 |
Did Hoffman and Mischa have any children?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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CANNOTANSWER
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"Else Hansen (Cathrine Marie Mahs Hansen) also called de Hansen (1720 – 4 September 1784), was the royal mistress of king Frederick V of Denmark. She is his most famous mistress and known in history as Madam Hansen, and was, alongside Charlotte Amalie Winge, one of only two women known to have been long term lovers of the king.\n\nLife\n\nThe background of Else Hansen does not appear to be known. Tradition claims her to be the sister of Frederick's chamber servant Henrik Vilhelm Tillisch, who in 1743 reportedly smuggled in his sister to the king at night, but modern research does not support them to be the same person.\n\nRoyal mistress\nIt is not known exactly when and how Hansen became the lover of the king. Frederick V was known for his debauched life style. According to Dorothea Biehl, the king was known to participate in orgies or 'Bacchus parties', in which he drank alcohol with his male friends while watching female prostitutes stripped naked and danced, after which the king would sometime beat them with his stick and whip them after having been intoxicated by alcohol. These women where economically compensated, but none of them seem to have had any status of a long term mistress, nor did any of the noblewomen and maids-of-honors, which according to rumors where offered to the king by their families in hope of advantages but simply married of as soon as they became pregnant without any potential relationship having been anything but a secret. The relationship between the king and Else Hansen was therefore uncommon.\n\nElse Hansen gave birth to five children with the king between 1746 and 1751, which is why the affair is presumed to have started in 1746 at the latest and ended in 1751 at the earliest. At least her three younger children where all born at the manor Ulriksholm on Funen, a manor owned by Ulrik Frederik von Heinen, brother-in-law of the de facto ruler of Denmark, the kings favorite Adam Gottlob Moltke, who likely arranged the matter. The manor was named after the royal Ulrik Christian Gyldenlove, illegitimate son of a previous king. The king's children with Hansen where baptized in the local parish church near the manor, where they were officially listed as the legitimate children of the wife of a non existent man called \"Frederick Hansen, ship writer from Gothenburg to China\". The frequent trips to Ulriksholm by Hansen as soon as her pregnancies with the king became evident was publicly noted. Neither Else Hansen nor any other of the king's mistresses where ever any official mistress introduced at the royal court, nor did they have any influence upon state affairs whatever, as politics where entrusted by the king to his favorite Moltke.\n\nIn 1752, the relationship between the king and Hansen may have ended – in any case, it was not mentioned more or resulted in any more children. She settled in the property Kejrup near Ulriksholm with her children, officially with the status of \"widow of the late sea captain de Hansen\".\n\nLater life\nAfter the death of Frederick in 1766, she acquired the estate Klarskov on Funen. She sold Klarskov and moved to Odense in 1768. In 1771, however, she bought Klarskov a second time and continued to live there until her death.\n\nHer children were not officially recognized, but unofficially they were taken care of by the royal court: her daughters were given a dowry and married to royal officials and the sons careers where protected, and her grandchildren where also provided with an allowance from the royal house.\n\nAfter Hansen, the king did not have any long term mistress until Charlotte Amalie Winge (1762–66).\n\nLegacy\nAt Frederiksborgmuseet, there are three paintings of Hansen by Jens Thrane the younger from 1764. Hansen is known by Dorothea Biehl's depiction of the decadent court life of Frederick V.\n\nIssue \nHer children were officially listed with the father \"Frederick Hansen, sea captain\".\nFrederikke Margarethe de Hansen (1747–1802)\nFrederikke Catherine de Hansen (1748–1822)\nAnna Marie de Hansen (1749–1812)\nSophie Charlotte de Hansen (1750–1779)\nUlrik Frederik de Hansen (1751–1752)\n\nSources\n Charlotte Dorothea Biehl, Interiører fra Frederik V's Hof, udgivet af Louis Bobé.\n Aage Christens, Slægten de Hansen, 1968.\n\nReferences\n\n1720 births\n1784 deaths\nMistresses of Danish royalty\n18th-century Danish people\n18th-century Danish women landowners\n18th-century Danish landowners",
"Maria Komnene (c. 1144 – 1190) was Queen of Hungary and Croatia from 1163 until 1165. Maria's father was Isaac Komnenos (son of John II).\n\nMarriage\nShe married c. 1157 to King Stephen IV of Hungary (c. 1133 – 11 April 1165). They did not have any children.\n\nSources \n Kristó Gyula - Makk Ferenc: Az Árpád-ház uralkodói (IPC Könyvek, 1996)\n Korai Magyar Történeti Lexikon (9-14. század), főszerkesztő: Kristó Gyula, szerkesztők: Engel Pál és Makk Ferenc (Akadémiai Kiadó, Budapest, 1994)\n\nHungarian queens consort\n1140s births\n1190 deaths\nMaria\n12th-century Byzantine women\n12th-century Hungarian women\n12th-century Byzantine people\n12th-century Hungarian people"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland (",
"What happened once he was promoted?",
"where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before",
"before what?",
"before returning to Posen where he married \"Mischa\" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska).",
"Did they have any children?",
"I don't know."
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
|
What happened after he got married?
| 9 |
What happened after Hoffman got married?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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They moved to Plock in August 1802.
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"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",
"Fern Jones (1923–1996) was an American gospel singer from Arkansas who blended traditional gospel music with elements of country and rockabilly.\n\nJones got married at 16 to Ray Jones, and with her husband she toured the Southern revival circuit. The only album she ever recorded was Singing a Happy Song, released in 1959 on Dot Records. The album, with additional songs, was released in 2005 as Fern Jones/The Glory Road and music from the album is heard in movies and on television.\n\nGlory Road tracklist\n\nI Am A Pilgrim (2:30)\nYou Ain't Got Nuthin' (2:40)\nI Do Believe (2:05)\nI Was There When It Happened (2:06)\nBe Thankful You're You (2:26)\nStrange Things Happening Every Day (2:26)\nI Ain't Got Time (2:14)\nJust A Little Talk With Jesus (2:19)\nKeeps Me Busy (2:33)\nTake My Hand, Precious Lord (2:40)\nLet Tomorrow Be (1:59)\nDidn't It Rain (2:29)\nI Was There When It Happened (Alternate Version) (2:20)\nMy Prayer For The Ones I Love (2:27)\nI Do Believe (Alternate Version) (2:16)\nI Don't Know (2:17)\nWe'll Understand It By And By (2:00)\nWhispering Hope (2:00)\nKeeps Me Busy (Alternate Version) (2:32)\nLet Tomorrow Be (Alternate Version) (2:04)\nI Don't Care What The World May Do (2:10)\nJust A Closer Walk (2:41)\nThis World Is Not My Home (1:57)\nWhen A Sinner Prays (2:37)\n\nReferences\n\n1923 births\n1996 deaths\nAmerican gospel singers\n20th-century American singers"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland (",
"What happened once he was promoted?",
"where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before",
"before what?",
"before returning to Posen where he married \"Mischa\" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska).",
"Did they have any children?",
"I don't know.",
"What happened after he got married?",
"They moved to Plock in August 1802."
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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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 other than Hoffman's relocation, promotion, the caracicatures and his marriage?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters.
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland (",
"What happened once he was promoted?",
"where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before",
"before what?",
"before returning to Posen where he married \"Mischa\" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska).",
"Did they have any children?",
"I don't know.",
"What happened after he got married?",
"They moved to Plock in August 1802.",
"Are there any other interesting aspects about this article?",
"At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters."
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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Who was the daughter?
| 11 |
Who was Cora Hatt's daughter?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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CANNOTANSWER
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
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"Kamaanya Kadduwamala was Kabaka of the Kingdom of Buganda from 1814 until 1832. He was the twenty-eighth (28th) Kabaka of Buganda.\n\nClaim to the throne\nHe was the eldest son of Kabaka Semakookiro Wasajja Nabbunga, Kabaka of Buganda, who reigned between 1797 and 1814. His mother was Abakyala Nansikombi Ndwadd'ewazibwa, the Kaddulubaale, of the Nseenene (Grasshopper) Clan. She was his father's first wife. His father married at least fifteen wives. He ascended to the throne upon the death of his father in 1814, assuming the name of Kamaanya. He established his capital at Nsujjumpolu.\n\nMarried life\nLike his father, Kabaka Kamaanya had many wives. He is recorded to have married at least thirty eight (38) wives:\n\n Baakuyiira, daughter of Lule, of the Ngonge clan\n Basiima Mukooki, daughter of Kateesigwa, of the Nkima clan\n Gwowemukira\n Kayaga, daughter of Kiwaalabye, of the Kkobe clan\n Kisirisa, daughter of Walusimbi, of the Ffumbe clan\n Naabakyaala Saamanya, the Kaddulubaale, daughter of Walusimbi, of the Ffumbe clan. She was killed on the orders of her husband.\n Ky'osiby'omunyolo, daughter of Jjumba, of the Nkima clan\n Kyot'owadde, daughter of Kiyaga, of the Mamba clan\n Kyowol'otudde, daughter of Lutalo, of the Ndiga clan\n Lubadde, daughter of Majanja, of the Ngeye clan\n Mpozaaki, daughter of Kateesigwa, of the Nkima clan\n Mubyuwo?, daughter of Nakatanza, of the Lugave clan\n Muteezi, daughter of Nakato, of the Mbogo clan\n Mukwaano, daughter of Mugema, of the Nkima clan\n Nambi, daughter of Lutaaya, of the Ngonge clan\n Naabakyaala Nabikuku, the Kabejja, daughter of Jjumba, of the Nkima clan\n Nabirumbi, daughter of Kisuule of Busoga, of the Ngabi (Reedbuck) clan\n Nabiswaazi, daughter of Jjumba, of the Nkima clan\n Nabyonga, daughter of Mwamba?, of the Lugave clan\n Nabbowa, daughter of Kafumbirwango, of the Lugave clan\n Nakaddu, daughter of Kamyuuka, of the Kkobe clan\n Nakanyike, daughter of Senfuma, of the Mamba clan\n Nakkazi Kannyange, daughter of Ssambwa Katenda, of the Mamba clan\n Nakkazi, daughter of Lutalo, of the Mamba clan\n Nakku, daughter of Walusimbi, of the Ffumbe clan\n Nakyekoledde, daughter of Gabunga, of the Mamba clan\n Nalumansi, daughter of Walusimbi, of the Ffumbe clan\n Namale, daughter of Kiwalabye, of the Kkobe clan\n Namukasa, daughter of Nankere, of the Mamba clan\n Namawuba, daughter of Sempala, of the Ffumbe clan\n Nambi Tebasaanidde, daughter of Mugula, of the Mamba clan\n Namwenyagira, daughter of Kamyuuka, of the Kkobe clan\n Nannozi, daughter of Gomottoka, of the Nvubu clan\n Nankanja, daughter of Terwewalwa, of the Nvubu clan\n Nzaalambi, daughter of Natiigo, of the Lugave clan\n Siribatwaalira, of the Nkima clan\n Tebeemalizibwa, daughter of Mwamba?, of the Lugave clan\n Nanteza\n\nIssue\nHe is recorded to have fathered sixty one (61) sons and several daughters. His son Suuna II, executed fifty eight (58) of his brothers during his reign. The children of Kabaka Kamaanya included:\n\n Prince (Omulangira) Kiggala I, whose mother was Baakuyiira\n Prince (Omulangira) Nakibinge Bawuunyakangu, whose mother was Saamanya. He was killed by being burned alive, on the orders of his father at Busonyi, Busujju County.\n Prince (Omulangira) Kimera, whose mother was Gwowemukira\n Prince (Omulangira) Ndawula, whose mother was Gwowemukira\n Prince (Omulangira) Lule, whose mother was Gwowemukira\n Prince (Omulangira) Kiggala II, whose mother was Gwowemukira\n Prince (Omulangira) Kitereera, whose mother was Gwowemukira\n Princess (Omumbejja) Babirye, whose mother was Kayaga. Twin with Princess Nakato\n Princess (Omumbejja) Nakato, whose mother was Kayaga. Twin with Princess Nakato\n Prince (Omulangira) Kaggwa, whose mother was Kisirisa\n Prince (Omulangira) Bagunyeenyamangu, whose mother was Saamanya\n Prince (Omulangira) Mbajjwe, whose mother was Ky'osiby'omunyolo).\n Prince (Omulangira) Bamweyana, whose mother was Kyootowadde\n Prince (Omulangira) Twaayise, whose mother was Mpozaaki\n Prince (Omulangira) Kyomubi, whose mother was Mukwaano\n Prince (Omulangira) Luwedde, whose mother was Nabiswaazi\n Prince (Omulangira) Kimera, whose mother was Nabbowa\n Prince (Omulangira) Lumansi, whose mother was Nakaddu\n Prince (Omulangira) Tebandeke, whose mother was Nakanyike\n Prince (Omulangira) Suuna Kalema Kansinjo, who succeeded as Kabaka Suuna II Kalema Kansinjo Mukaabya Ssekkyungwa Muteesa I Sewankambo Walugembe Mig'ekyaamye Lukeberwa Kyetutumula Magulunnyondo Lubambula Omutanda Sseggwanga, whose mother was Nakkazi Kannyange\n Prince (Omulangira) Wasajja, whose mother was Nakkazi. He escaped the slaughter of the princes by his brother, Suuna II.\n Prince (Omulangira) Ndawula, whose mother was Nakyekoledde\n Prince (Omulangira) Mutebi, whose mother was Nakyekoledde\n Prince (Omulangira) Mugogo, whose mother was Kyotowadde. He too, escaped the slaughter of the princes by his brother, Suuna II.\n Prince (Omulangira) Kigoye, whose mother was Namale\n Princess (Omumbejja) Ndagire I, whose mother was Namukasa\n Prince (Omulangira) Waswa, whose mother was Nambi Tebasaanidde. Twin with Babirye.\n Princess (Omumbejja) Babirye, whose mother was Nambi Tebasaanidde. Twin with Babirye\n Prince (Omulangira) Kajumba, whose mother was Nambi Tebasaanidde\n Princess (Omumbejja) Ndagire II, whose mother was Nannozi\n Prince (Omulangira) Kizza, whose mother was Nzaalambi\n Princess (Omumbejja) Tajuba, whose mother was Lubadde. She died after 1927.\n Princess (Omumbejja) Nassolo, whose mother Mubyuwo?\n Princess (Omumbejja) Nambi, whose mother was Muteezi\n Princess (Omumbejja) Nakayenga, whose mother was Kyowol'otudde\n Princess (Omumbejja) Namayanja, whose mother was Lubadde\n Princess (Omumbejja) Nabaloga, whose mother was Mpozaaki\n Princess (Omumbejja) Kagere, whose mother was Mubyuwo\n Princess (Omumbejja) Mwannyin'empologoma Nassolo, whose mother was Nabikuku\n Princess (Omumbejja) Nalumansi, whose mother was Nabirumbi\n Princess (Omumbejja) Nakku, whose mother was Nabyonga\n Princess (Omumbejja) Nakalema, whose mother was Nalumansi\n Princess (Omumbejja) Nakangu, whose mother was Nambi\n Princess (Omumbejja) Namika, whose mother was Nakaddu\n Princess (Omumbejja) Nakabiri, whose mother was Namwenyagira\n Princess (Omumbejja) Katalina Nabisubi Mpalikitenda Nakayenga, whose mother was Siribatwaalira. She was born around 1814. She died on 27 January 1907.\n Princess (Omumbejja) Lwantale, whose mother was Siribatwaalira. She was the Naalinnya to Kabaka Suuna II. She died in March 1881.\n Princess (Omumbejja) Nagaddya, whose mother was Tebeemalizibwa\n Princess (Omumbejja) Nassuuna Kyetenga, whose mother was Nankanja\n\nHis reign\nKabaka Kamaanya continued the wars of conquest against the Kingdom's neighbors which led to an expansion of the territory of the Buganda Kingdom. He conquered the ssaza, Buweekula, from Bunyoro and annexed it to Buganda.\n\nThe final years\nKabaka Kamaanya died at Lutengo in 1832. He was buried at Kasengejje, Busiro.\n\nQuotes\nIt is claimed that Kamanya’s original name was Kanakulya Mukasa. But because he was such a tyrant, his contemporaries began to refer to a person of uncontrollable temper with a persecution mania (and indirectly to the king) as a kamanya.\n MM Semakula Kiwanuka, A History of Buganda, 1971\n\nSuccession table\n\nSee also\n Kabaka of Buganda\n\nReferences\n\nExternal links\nList of the Kings of Buganda\n\nKabakas of Buganda\n19th-century monarchs in Africa\n1832 deaths\nYear of birth unknown",
"Ndawula Nsobya was Kabaka of the Kingdom of Buganda between 1724 and 1734. He was the nineteenth (19th) Kabaka of Buganda.\n\nClaim to the throne\nHe was the fifth son of Kabaka Juuko Mulwaana, Kabaka of Buganda, who reigned between 1680 and 1690. His mother was Nandawula Kabengano of the Nsenene clan, the fifth of his father's six wives. He ascended to the throne upon the death of his cousin. He established his capital at Lubaga.\n\nMarried life\nHe is reported to have married seven (7) wives:\n\n Nabisubi, daughter of Namenyeka of the Mamba clan\n Naggujja, daughter of Mukalo, of the Njovu clan\n Nakikulwe Namirembe, daughter of Kayindi\n Nakidde Luyiga, daughter of Segiriinya, of the Ngo clan\n Nakyomubi, daughter of Gabunga, of the Mamba clan.\n Nampanga, daughter of Gunju, of the Butiko clan\n Nazzaluno, daughter of Walusimbi, of the Ffumbe clan\n\nIssue\nKabaka Ndawula is reported to have fathered ten (10) children; eight (8) sons and two (2) daughters:\n Kabaka Kagulu Tebukywereke Ntambi, Kabaka of Buganda, who reigned between 1734 and 1744, whose mother was Naggujja\n Prince (Omulangira) Musanje Golooba, whose mother was Nakidde Luyiga.\n Prince Musanje Golooba married three wives: (a) Bawuna, daughter of Magunda, of the Ffumbe clan (b) Nabulya Naluggwa, daughter of Lutalo, of the Ndiga clan and (c) Namirembe, daughter of Sematengo, of the Ndiga clan. He fathered four (4) sons: (a) Kabaka Mwanga I Sebanakitta, Kabaka of Buganda, who reigned between 1740 and 1741, whose mother was Nabulya Naluggwa (b) Kabaka Namuggala Kagali, Kabaka of Buganda, who reigned between 1741 and 1750, whose mother was Nabulya Naluggwa (c) Kabaka Kyabaggu Kabinuli, Kabaka of Buganda, who reigned between 1750 and 1780, whose mother was Nabulya Naluggwa and (d) Prince (Omulangira) Kayondo, whose mother was Namirembe. Prince Musanje Golooba was executed on the orders of his half-brother Kabaka Kagulu Tebukywereke for the murder of Prince (Omulangira) Luyenje.\n Kabaka Mawanda Sebanakitta, Kabaka of Buganda, who ruled between 1738 and 1740, whose mother was Nakidde Luyiga\n Kabaka Kikulwe Mawuba, Kabaka of Buganda, who reigned between 1736 and 1738, whose mother was Nakikulwe\n Prince (Omulangira) Segaamwenge\n Prince (Omulangira) Luyenje. He was killed by his half-brother, Prince Musanje.\n Prince (Omulangira) Ndege, whose mother was Nakidde Luyiga\n Prince (Omulangira) Bezzaluno, whose mother was Nazzaluno\n Princess (Omumbejja) Ndege, Nassolo.\n Princess (Omumbejja) Kyomubi, whose mother was Nakyomubi\n\nThe final years\nKabaka Ndawula died of old age around 1734, at the Kasajjakaliwano Palace, at Lubaga. He is buried at Musaba, Busiro.\n\nQuotes\n\"Ndawula himself was a man of peace; he reigned long and had a very large family. The turbulence of Ndawula's numerous sons broke the tranquil atmosphere he had established in the country.\"\n MM Semakula Kiwanuka, A History of Buganda, 1971\n\nSuccession table\n\nSee also\n Kabaka of Buganda\n\nReferences\n\nExternal links\nList of the Kings of Buganda\n\nKabakas of Buganda\n18th-century monarchs in Africa"
] |
[
"E. T. A. Hoffmann",
"The provinces",
"What happened to Hoffmann in the provinces?",
"and he started to become \"what school principals, parsons, uncles, and aunts call dissolute.\"",
"Why caused that?",
"Masovia. This was the first time he had lived without supervision by members of his family, and",
"How did he deal with that?",
"His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.",
"Did he do the caricatures?",
"ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,",
"What happened after the complaints?",
"official. The problem was solved by \"promoting\" Hoffmann to Plock in New East Prussia, the former capital of Poland (",
"What happened once he was promoted?",
"where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before",
"before what?",
"before returning to Posen where he married \"Mischa\" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska).",
"Did they have any children?",
"I don't know.",
"What happened after he got married?",
"They moved to Plock in August 1802.",
"Are there any other interesting aspects about this article?",
"At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters.",
"Who was the daughter?",
"I don't know."
] |
C_4cc22b5d3bf7491899ca14ea9ec71f41_1
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What post did he get?
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What post did Hoffman get?
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E. T. A. Hoffmann
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From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
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daughters. He was never to return to Konigsberg.
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Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.
Life
Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.
Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.
Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.
The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."
His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.
He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Berlin
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.
King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.
Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.
Works
Literary
Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)
Musical
Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)
Works for stage
Die Maske (libretto by Hoffmann), Singspiel (1799)
Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
Arlequin, ballet (1808)
Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
Wiedersehn! (libretto by Hoffmann), prologue (1809)
Dirna (libretto: Julius von Soden), melodrama (1809)
Incidental music to Julius von Soden's drama Julius Sabinus (1810)
Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
Aurora (libretto: Franz von Holbein), heroic opera (1812)
Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
Der Liebhaber nach dem Tode (unfinished)
Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)
Assessment
Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.
The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.
Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.
Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."
In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made.
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.
See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.
References
External links
Hoffmann's Life and Opinions of the Tom Cat Murr
T. A. Hoffmann's Fairy Tales
Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
Extensively cross-indexed bibliography of Hoffmann's works
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
| false |
[
"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",
"Post turtle is a phrase that has been used in political discourse of various countries, particularly in North America, based on an old joke. Various politicians have been referenced by the joke or used the joke, including Bill Clinton, George W Bush, Barack Obama, Donald Trump, and Joe Biden.\n\nThe joke\nAn old Rancher is talking about politics with a young man from the city. He compares a politician to a \"post turtle.\" The young man doesn't understand and asks him what a post turtle is.\n\nThe old man says, \"When you're driving down a country road and you see a fence post with a turtle balanced on top, that's a post turtle. You know he didn't get up there by himself. He doesn't belong there; you wonder who put him there; he can't get anything done while he's up there; and you just want to help the poor, dumb thing down.\"\n\nNotable usage\nRonald E. Poelman used the post turtle reference referring to himself when he was first appointed as a general authority for The Church of Jesus Christ of Latter-day Saints during General Conference in April, 1978, saying, \"Like the little turtle who found himself on the top of a fence post, I know that I did not reach this place by myself.\"\n\nMary Doria Russell used the post turtle reference in her 1996 novel The Sparrow, attributing it to Father D.W. Yarborough, leader of the first Earth expedition to another planet. Yarborough refers to post turtles in the context of seeming anomalies in nature and regards them as proof of the existence of God, specifically of God trying to get our attention.\n\nThe Natural: The Misunderstood Presidency of Bill Clinton by Joe Klein, published in 2002, quotes Clinton as saying: \"If you see a turtle sitting on top of a fence post, it didn't get there by accident.\" According to Klein, this was Clinton's way of claiming partial responsibility for \"the historic prosperity and the global peace that attended his time in office\".\n\nMolly Ivins is attributed to usage for George W. Bush.\n\nIn 2008, Steve Benen, lead blogger for the liberal \"The Political Animal\" at Washington Monthly, referred to Eric Cantor as a post turtle.\n\nAt the 2010 CMAs, Brad Paisley used the phrase in his acceptance speech for Entertainer of the Year.\n\nReferences\n\nExternal links\nFurther examples of the \"post turtle\" joke at The Big Apple.\n\nAnimals in politics\nPolitical terminology\nPolitical satire\nMetaphors referring to animals\nInternet memes"
] |
[
"Bleeding Through",
"The Great Fire, disbandment announcement and final tours (2010-2014)"
] |
C_776f27be3ed94aba961c2493b0ff6644_0
|
What is the Great Fire?
| 1 |
What is the Great Fire in relation to Bleeding Through?
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Bleeding Through
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The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview: Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we're going to do it whenever we want to do it. There is no deadline right now, we don't have any dates set, we don't have the studio, we're going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract. On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012. On January 3, 2013 the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014. Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through. The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17. The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014. In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010. Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out fast. The final show was on August 3. Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future. CANNOTANSWER
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On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire".
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Bleeding Through is an American metalcore band from Orange County, California. Formed in 1999, the band blended influences stemming from modern hardcore punk, symphonic black metal, and melodic death metal. In 2004, Revolver magazine hailed Bleeding Through as one of eight bands ushering in the "Future of Metal" cover story, and Spin called Bleeding Through an "artist to watch" in the magazine's February 2004 issue.
History
Dust to Ashes and Portrait of the Goddess (1999–2002)
Bleeding Through was formed in 1999 in Woodlake, California. The band's roots can be traced back to 1998, when a band named Breakneck was founded by vocalist Brandan "Ohrly" Schieppati (Eighteen Visions / Throwdown), guitarists Javier Van Huss (Eighteen Visions / Enewetak) and Scott Danough (Daggers), bass guitarist Chad Tafolla (Taken) and drummer Troy Born (Taken). Breakneck played their only show on October 30, 1998, at the Showcase Theatre in Corona, California, opening for Throwdown, Eighteen Visions, Adamantium, Give Until Gone and Swingset in June.
The band witnessed lineup changes, starting with the departure of Van Huss; he was briefly replaced by guitarist Dave Peters (Throwdown / Eighteen Visions), before Tafolla switched from playing bass to guitar. Brandon Conway came in as new bassist until the subsequent recruitment of Marc Jackson (Throwdown / Wrench / Cold War).
They decided to expand their original hardcore sound by adding elements of black and death metal to their music. The origin of the band's name was explained in an interview as follows: "Well, it is summed up by the explanation that whether black, white, red, brown, yellow, religious preference, straight or gay, we all bleed the same, and we bleed through this life the same. Thus Bleeding Through."
In February 2000, Bleeding Through recorded five songs using a 4-track recorder in Born's bedroom, which were released as the band's demo. The demo was followed by their debut full-length album, Dust to Ashes, released through Prime Directive Records on March 20, 2001. Just prior to entering the studio, Vijay Kumar (of Roundhouse and Cat Burglar) took the bass position and Molly Street enrolled as keyboard player. The addition of keyboards was an unconventional move for a metalcore act as it brought some black metal influences into the music.
Four months prior to the album being released, Born quit the band but a quickfire substitute was located in Derek Youngsma of Cast in Stone repute. Tafolla left the band in August 2001, following the band's first tour and was replaced by Brian Lepke.
Severing ties with Eighteen Visions, Schieppati opted to pursue Bleeding Through as a priority upon completion of the Indecision Records 2002 offering Portrait of the Goddess. At this juncture the group comprised the guitar pairing of Scott Danough and Brian Lepke, bassist Mick Morris (replacing Vijay Kumar who played on Portrait of the Goddess) and drummer Derek Youngsma.
This Is Love, This Is Murderous and The Truth (2003–2007)
After these two relatively under-distributed albums, Bleeding Through signed to a larger label, Trustkill Records in 2003, releasing their third full-length album in September of the same year. Promoting the Ulrich Wild produced This is Love, This is Murderous they embarked upon US nationwide touring, opening for AFI. These dates had propelled the band to national attention albeit for all the wrong reasons. Traveling from Utah to a show in Colorado the group's vehicle hit black ice on the highway, spinning out of control and slamming into a truck that was already flipped over. A mobile TV unit, there to report on another crash, caught the entire incident on film as their equipment trailer rolled and exploded, showering their instruments and gear across the road. Fortunately the band escaped with only minor injuries (Johnson had a minor cut on his head), but due to this accident they had to drop off the "Pure Hatred" tour with Chimaira, Soilwork and As I Lay Dying. The KSL-TV footage of the accident taking place can be viewed in Real Media format on the channel's official site. The dramatic televised footage was broadcast everywhere from CNN Headline News, Good Morning America, NBC News and even The Weather Channel.
This Is Love, This Is Murderous received generally favorable reviews from the mainstream media; Allmusic reviewer, Eduardo Rivadavia wrote that "Bleeding Through's blindingly technical execution provides a constant source of entertainment", and Aaron Troy from DecoyMusic.com called it "the best metalcore release of 2003". The metal community praised it as well, even to a greater extent, with Deadtide.com calling it "a very mature offering from still a young band that will only get better and bigger in the future", Metalrage giving it an 85 score out of 100, The videos for "Love Lost in a Hail of Gun Fire" and "On Wings of Lead" became staples on MTV2's Headbangers Ball and on Fuse TV's Uranium as well. It is also Bleeding Through's most successful album to date with more than 125,000 copies sold.
The following year kicked off with the band's "Mutilation Tour", which culminated in a sold-out performance at The Glasshouse, near their Orange County home that was captured on a live DVD, the next major step in Bleeding Through's career was a spot on Ozzfest 2004, sharing the second stage alongside headline act Slipknot and fellow supports Unearth, Lamb of God, Every Time I Die, Hatebreed, Lacuna Coil and Atreyu. They earned the direct support position on MTV2's third "Headbanger's Ball: The Tour" in November, featuring Cradle of Filth, Arch Enemy and Himsa as touring partners. In an unexpected move, Bleeding Through also donated their rendition of "Rocket Queen" to the Guns N' Roses tribute album Bring You to Your Knees released by Law of Inertia Records in March 2004.
A 2005 re-issue of This Is Love, This Is Murderous added three bonus live tracks, "Revenge I Seek", "Rise" and "Our Enemies", two music videos and a ten-minute documentary. Following this, the band embarked upon European touring in February 2005, supported by Swedes Cult of Luna. In April the group, working with Rob Caggiano as producer, ensconced themselves in Cherokee Studios, Los Angeles to cut a new album billed The Truth.
As This Is Love, This Is Murderous passed the 100,000 sales figure in the US, further touring found the band headlining the second annual "Strhess Fest" in alliance with Darkest Hour, Zao, Misery Signals, and Fight Paris commencing early July. Upon completion of these gigs the group hooked up with the "Warped Tour" for a two-week stretch. November saw shows with Day of Contempt, before the group entered the recording studio to lay down cover versions of Black Flag's "My War", for use on a tribute album, and Unbroken's "Fall On Proverb".
Bleeding Through's The Truth album was released on January 10, 2006, through Trustkill Records. The album was produced by Rob Caggiano, lead guitarist of Anthrax. The band decided to rebuild their sound from the ground up, quoting to Alternative Press as "Taking out the Metalcore, and then adding the metal into hardcore, if that makes any sense." (--Scott Danough, guitarist). "I don't think this album sounds like anything else out there right now. We're very proud of that fact." says guitarist Brian Leppke.
Kerrang! magazine declared that "The Truth" "is about to tear 2006 a new arsehole" upon the album's release in a 4 "KKKK" review (out of 5) while Billboard Magazine hailed the album as "one of the most important" heavy metal albums of the year. A few smaller critics were not so kind: Vik Bansal of musicOMH.com described it as an album that shows "whilst they're not quite there yet, Bleeding Through do have the ability to become bleeding edge", Allmusic's Eduardo Rivadavia's opinion was that the band "played it safe" this time and emphasized their "infuriatingly one-dimensional reliance on victimized, self-pitying lyrics of a middle school maturity level". Although some critics praised the improvement of production, recording, and mixing quality by Rob Caggiano, and the melodic approach to song writing. The album entered the Billboard 200 at No. 48, and No. 1 on the Top Independent Albums.
Promoting The Truth, the band opened 2006 with US dates throughout February and March backed by Every Time I Die, Between the Buried and Me and Haste the Day. The band also put in a significant appearance on the second stage at the Tool, Guns N' Roses and Metallica headlined Download Festival in Castle Donington, UK on June 9. On July 18, Bleeding Through appeared on The Tonight Show with Jay Leno. Stand-up comedian Mitch Fatel joined the band for a song, Brandan Schieppati called this "surreal in the best possible way".
The group once again played on the second stage at the 2006 Ozzfest, now as part of the non-rotating lineup along with Black Label Society, Unearth, Atreyu and Norma Jean. In addition to their own headline dates, they also filled Ozzfest "off dates" with shows supporting Disturbed, Avenged Sevenfold and Hatebreed. The band members were on a day off from the festival passing through Medford, Oregon, when they pulled into a Taco Bell parking lot to eat. This resulted in a fan recognizing them and then calling over a bunch of his friends. The band talked with the fans, signed autographs, posed for pictures and also asked the kids if there were any shows happening that night they could participate in. They ended up doing a small club concert with local bands, with roughly 150 people in attendance. The show was a benefit with all proceeds going toward cancer research.
In April 2007 Danough left the band. "We felt that we had grown apart and it was time for both parties to move on", the band wrote in a statement. After his departure he wrote on his MySpace blog: "..Just know that when this all comes out don't think you've seen the last of Scott. I'm on to the next chapter very soon and I'm excited to see what the future brings." After Danough's departure he was quickly replaced by Jona Weinhofen of Australian band I Killed The Prom Queen – one of several factors that led that band to split up.
Bleeding Through headlined the Darkness Over Europe 2007 Tour with I Killed The Prom Queen, All Shall Perish, and Caliban from February to March. The band then toured as the opening act for the Slayer and Marilyn Manson summer tour.
Following that, the group embarked on a six-week stint across the U.S. and parts of Canada opening for HIM, with the arduous year of touring finally reaching an end with shows in New York City, on December 1 and 2, 2007, while HIM was simply done touring North America and set to move on to Europe.
Declaration (2008–2009)
In March 2008, Bleeding Through announced Declaration as the title of its fifth studio release, a concept album about the rigors of being away from home. The band's frontman and lyricist Brandan Schieppati explained to Revolver in the magazine's May 2008 issue, "There are definitely places when we're traveling where every time we go there, we're like, 'Fuck, why do we have to be here?' Like, we'll be in France and all of a sudden we'll feel totally insignificant. You get the feeling that people's eyes are just burining a hole through you." The group recorded Declaration between April and May 2008 in Vancouver, Canada with producer Devin Townsend.
On June 6, 2008, the band released a blog on MTV's Headbangers Ball website. The blog addressed numerous disappointments the band had with Trustkill Records. These disappointments included unpaid royalties, lack of funding for Declaration, and an unapproved re-release of their 2006 album The Truth. Despite Trustkill's website saying that the new album, Declaration would be released August 2008, the band stated that they did not intend to hand over the master recording of the album, until they were paid the minimum fees required to pay back producer Devin Townsend, the band's management and Schieppati's father who loaned the band money for recording. In a follow-up blog on their MySpace page, Bleeding Through stated that "Trustkill Records delivered the funds necessary to complete the album and to compensate everyone who had loaned [us] cash."
Following the recording of Declaration, the group appeared at the 2008s Download Festival, which was held from June 13 to 15 at Donington Park, United Kingdom. During the festival, vocalist Brandan Schieppati spoke to Rock Sound TV about the group's dispute with its record label. During the conversation, Schieppati revealed that Bleeding Through has been contacted by a number of other record companies since the band went public with its Trustkill feud. In July 2008, Bleeding Through inked a European deal with German record label Nuclear Blast for the release of Declaration.
The band performed in the US 'No Fear Music Tour' with Bullet for My Valentine in August, and continued to support them throughout Europe with Lacuna Coil in November and December 2008. They also performed in two countries for the first time in 2008: Mexico and Russia. They performed in Mexico City in August as part of the Warped Tour with Underoath and MxPx and headlined four Russian shows in December.
On September 25, 2008, Machine Head frontman Robb Flynn joined the band on stage at The Warfield in San Francisco, and performed Bleeding Through's song "Revenge I Seek". The next day, Declaration was released in Europe by Nuclear Blast and September 30 in the US by Trustkill. The album sold under 6,000 copies in the United States in its first week of release to debut at number 104 on the Billboard 200 chart.
Bleeding Through co-headlined along with Darkest Hour the Thrash and Burn European Tour between April and May 2009. They will also headline "The Declaration Tour" in 2009 along with As Blood Runs Black, Impending Doom, The Acacia Strain. Guitarist Brian Leppke was unable to make it on tour resulting in Demon Hunter's Patrick Judge temporarily filling in for him. In late May 2009, Bleeding Through announced that Jona Weinhofen would be leaving the band and No Use for a Name guitarist Dave Nassie would replace him. Jona cited that while he loved his time in Bleeding Through, he decided that he should leave the band and return home to Australia with his family and friends. Following his departure Jona joined Bring Me The Horizon until January 2013.
The band embarked on a special West Coast tour in August to celebrate their ten-year anniversary, with supporters Carnifex, Miss May I, and Motionless in White. In early June 2009, Bleeding Through inked a deal with the Portland, Oregon-based independent record label Rise Records. Insinuating about the band's previous dispute with its former label Trustkill, Schieppati said, "We're very excited to align with a record label that has so much momentum and is growing when many seem to be faltering, dropping bands and firing employees."
Bleeding Through (2009–2010)
On October 12, 2009, Bleeding Through issued the statement, "Rest assured that everything is fine as far as The Band is concerned! We’re looking very forward to the Halloween show followed by the creation of our BRAND NEW ALBUM, which we can tell you will take place in December and January before our European tour with Machine Head, Hatebreed and All Shall Perish! That’s right, NEW Bleeding Through album in 2010," confirming the band will release a new album, which was self-titled and released by Rise Records on April 13, 2010, in North America and internationally through Roadrunner Records The album was produced by Zeuss.
The band supported the album with a lengthy tour of Europe, Japan and Australia with Machine Head and Hatebreed in the first part of 2010. This was followed by their own "Spring Breakdown" headlining tour in the US with Born Of Osiris, Sleeping Giant and more. The band returned to Europe for several festivals and a few headlining shows. The group released a video for the song "Anti-Hero". In August 2010 the group headlined the "California United" West Coast tour with Terror and The Ghost Inside. The following month they headlined "The Anti-Hero" tour across the US with support from For Today, After The Burial and more. After that they joined Parkway Drive and Comeback Kid for the European "Never Say Die!" tour. The band closed out 2010 with an appearance at the "Noise for Toyz" benefit show in Fullerton, California and released an iTunes / digital only single through Rise Records which was recorded during the sessions for the self-titled album.
The Great Fire, disbandment announcement and final tours (2010–2014)
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview:
Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we’re going to do it whenever we want to do it. There is no deadline right now, we don’t have any dates set, we don’t have the studio, we’re going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract.
On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012.
On January 3, 2013, the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014.
Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through.
The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17.
The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014.
In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010.
Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out. The final show was on August 3.
Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future.
Reunion and Love Will Kill All (2018–present)
On January 1, SharpTone Records issued a teaser for music they were releasing in 2018 and some listeners apparently recognized vocalist Brandan Schiepatti's voice on their page. On March 28, 2018, the band announced their new album, "Love Will Kill All" and will release on May 25 through SharpTone Records.
Musical style, influences and lyrical themes
Bleeding Through's music has been described as metalcore, melodic death metal, and symphonic black metal, and like many metalcore-labeled bands, Bleeding Through is influenced by Swedish melodic death metal. It is the most apparent on Dust to Ashes, while with time the band's music got gradually more and more melodic, with The Truth being the most melodic to date, even containing a power ballad, a novelty for the band. A keyboard player was introduced shortly before the band began performing as an unsigned act. According to former guitarist Scott Danough "it adds a different element" to their music.
Former guitarist Scott Danough has said that he is influenced by metal and hardcore bands, like At the Gates, Slayer, Cradle of Filth, Integrity and Earth Crisis. Vocalist Brandan Schieppati has mentioned American thrash metal bands as an influence on Bleeding Through, such as Testament or Exodus. In an interview, guitarist Brian Leppke added Cro-Mags, Entombed, Crowbar and Pantera to the list of influences. Keyboardist Marta Peterson is the one who brings industrial, symphonic black metal, and goth inspirations to the band's sound.
Although the band was often labeled as simply metalcore, when Brandan Schieppati was asked if he considered Bleeding Through a hardcore band, he said: "I think we're a hardcore band and I'll never say we are a metal band, we're all hardcore kids and we came from the hardcore scene. Ours is just a different version of hardcore, we're trying to do something which adds a different variety to the hardcore scene, which has been sounding the same way for so long."
Lyrical themes focuses such themes as pain, hate, loss, love and personal struggles.
Band members
Current lineup
Brandan Schieppati – lead vocals (1999–2014, 2016, 2018–present)
Derek Youngsma – drums (2001–2014, 2016, 2018–present)
Marta Peterson – keyboards (2003–2014, 2016, 2018–present)
Brian Leppke – rhythm guitar (2001–2014, 2016, 2018-present), lead guitar (2018-present)
Ryan Wombacher – bass, backing vocals (2002–2014, 2016, 2018-present)
Former members
Scott Danough – lead guitar (1999–2007, 2013–2014, 2016), rhythm guitar (2013–2014)
Javier Van Huss – rhythm guitar (1999)
Marc Jackson – bass (1999–2000)
Troy Born – drums (1999–2001)
Chad Tafolla – bass (1999), rhythm guitar (1999–2001)
Vijay Kumar – bass (2000–2002)
Molly Street – keyboards (2000–2003)
Jona Weinhofen – lead guitar, backing vocals (2007–2009, 2014)
Dave Nassie – rhythm guitar (2014), lead guitar (2009–2014)
Live musicians
Mick Morris – bass
Rocky Gray – drums
Dave Peters – lead and rhythm guitar
Patrick Judge – lead and rhythm guitar
Manny Contreras – rhythm and lead guitar
Mick Kenney – lead guitar
Mark Garza – drums
Justin Bock - bass guitar
Brandon Richter – lead guitar, backing vocals (2019)
Robert Bloomfield – bass (2019)
Timeline
Discography
Studio albums
DVDs
This Is Live, This Is Murderous (June 15, 2004, Kung Fu Records)
Wolves Among Sheep (November 15, 2005, Trustkill Records)
Appearance on compilations
MTV2 Headbangers Ball: The Revenge – "Kill to Believe"
The Best of Taste of Chaos – "On Wings of Lead"
The Best of Taste of Chaos Two. – "Love in Slow Motion"
Bring You to Your Knees: A Tribute to Guns N' Roses – "Rocket Queen"
Threat: Music That Inspired the Movie – "Number Seven with a Bullet"
Threat: Original Motion Picture Soundtrack (Soundtrack) – "Number Seven with a Bullet"
AMP Magazine Presents: Volume 1: Hardcore
Blood, Sweat & Ten Years – "On Wings of Lead" and "Love Lost in a Hale of Gunfire"
MTV2 Headbangers Ball, Vol. 2 – "Love Lost in a Hail of Gunfire" (censored)
Fighting Music 2
Our Impact Will Be Felt: A Tribute to Sick of It All – "We Want the Truth"
Trustkill Takeover, Vol. II – "One Last Second"
2005 Warped Tour Compilation – "Love Lost in a Hail of Gunfire"
Punk Goes '90s – "Stars" – Hum cover
Black on Black: A Tribute to Black Flag – "My War"
Metal Hammer 204 – "Anti-Hero"
Music videos
References
External links
Official website
Bleeding Through: A Different Package: Shout! Music Webzine on April 1, 2007
What Bleeding Through Can Do For You: Follow-up Interview with Derek Youngsma
1999 establishments in California
American metalcore musical groups
American technical death metal musical groups
Musical groups disestablished in 2014
Musical groups established in 1999
Musical groups from Orange County, California
Musical quintets
Nuclear Blast artists
Rise Records artists
Straight edge groups
Trustkill Records artists
| true |
[
"Shuckstack is a mountain in the Great Smoky Mountains of Swain County, North Carolina, in the southeastern United States. It has an elevation of above sea level, and rises approximately above Fontana Lake, to the south.\n\nA historic fire tower stands at the summit of Shuckstack, offering a panoramic view of the western Smokies, Yellow Creek, Unicoi, Cheoah, and northern Nantahala mountains. Although no longer in use, the fire tower is accessible to the public. The summit of Shuckstack is accessed via the Appalachian Trail and a short spur trail. The spur trail is marked by a T-shaped white blaze, and is approximately from the parking lot on the north side of Fontana Dam. It is considered a strenuous hike due to the rapid elevation gain—approximately .\n\nAlong with the fire tower, the summit of Shuckstack also hosts the chimney, foundation, and cistern of what was once a fire watchman's cabin along with several outcroppings of Precambrian Ocoee Supergroup sandstone.\n\nReferences\n\nExternal links \n Great Smoky Mountains National Park Trail Map - Large file in .pdf format.\n Shuckstack Tower Trail - Article in the Knoxville News-Sentinel, 11/02/2003.\n North Carolina Fire Lookouts - List of fire lookouts in the state of North Carolina.\n Tennessee/GSMNP fire towers\n Help restore Shuckstack more photos and history\n\nMountains of Great Smoky Mountains National Park\nMountains on the Appalachian Trail\nMountains of North Carolina\nProtected areas of Swain County, North Carolina\nMountains of Swain County, North Carolina",
"The Great Fire of London has been discussed, referenced, or recreated in popular culture numerous times.\n\nThe diaries kept by Samuel Pepys during the period became very popular in the following decades.\n\nWilliam Harrison Ainsworth's novel Old St Paul's is set during the events of the fire.\n\nThe Great Fire was released on ITV television in 2014. It was shown in four episodes. It constructs a fictional scenario involving the Pudding Lane baker's family in an alleged popish plot.\n\nThe round \"London's Burning\" is said to be about the Great Fire. However, the first notation of a song in this theme dates from 1580 as \"Scotland's Burning\".\n\nThe musical, Bumblescratch by Robert J. Sherman is set during the Great Plague of 1665 and the Great Fire of London in 1666. The musical premiered as part of the 350th Anniversary commemoration of the Great Fire on September 4, 2016 at the Adelphi Theatre. The show starred actor Darren Day as the story's titular character, plague rat \"Melbourne Bumblescratch\". A cast album of the score was also released by SimG Records later that year.\n\nThe catchphrase of fictional firefighter Fireman Sam is \"Great fires of London!\" which is a reference to the Great Fire of London.\n\nThe 1982 Doctor Who serial \"The Visitation\" takes place during the final days of the Great Plague of 1665 and ends with the Fifth Doctor starting the Great Fire to destroy a Terileptil base hidden in Pudding Lane.\n\nIn the 2005 film Batman Begins, Ra's al Ghul, the leader of the League of Shadows, states that the League \"Sacked Rome, loaded trade ships with plague rats, burned London to the ground\".\n\nThe Grisly Great Fire of London is a special episode in the Horrible Histories TV series, released in 2016 to mark the 350th anniversary of the fire.\n\n\"Timequake\", a feature in 1978 science fiction comic Starlord, said that the fire was inadvertently started by inept time-travelling agents.\n\nReferences\n\nGreat Fire of London"
] |
[
"Bleeding Through",
"The Great Fire, disbandment announcement and final tours (2010-2014)",
"What is the Great Fire?",
"On November 14, 2011, the band announced that the name of their new record would be called \"The Great Fire\"."
] |
C_776f27be3ed94aba961c2493b0ff6644_0
|
Did they have any hit singles on this album?
| 2 |
Did Bleeding Through have any hit singles on The Great Fire album?
|
Bleeding Through
|
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview: Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we're going to do it whenever we want to do it. There is no deadline right now, we don't have any dates set, we don't have the studio, we're going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract. On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012. On January 3, 2013 the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014. Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through. The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17. The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014. In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010. Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out fast. The final show was on August 3. Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future. CANNOTANSWER
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On January 3, 2013 the band announced their upcoming tour in Europe would be their last,
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Bleeding Through is an American metalcore band from Orange County, California. Formed in 1999, the band blended influences stemming from modern hardcore punk, symphonic black metal, and melodic death metal. In 2004, Revolver magazine hailed Bleeding Through as one of eight bands ushering in the "Future of Metal" cover story, and Spin called Bleeding Through an "artist to watch" in the magazine's February 2004 issue.
History
Dust to Ashes and Portrait of the Goddess (1999–2002)
Bleeding Through was formed in 1999 in Woodlake, California. The band's roots can be traced back to 1998, when a band named Breakneck was founded by vocalist Brandan "Ohrly" Schieppati (Eighteen Visions / Throwdown), guitarists Javier Van Huss (Eighteen Visions / Enewetak) and Scott Danough (Daggers), bass guitarist Chad Tafolla (Taken) and drummer Troy Born (Taken). Breakneck played their only show on October 30, 1998, at the Showcase Theatre in Corona, California, opening for Throwdown, Eighteen Visions, Adamantium, Give Until Gone and Swingset in June.
The band witnessed lineup changes, starting with the departure of Van Huss; he was briefly replaced by guitarist Dave Peters (Throwdown / Eighteen Visions), before Tafolla switched from playing bass to guitar. Brandon Conway came in as new bassist until the subsequent recruitment of Marc Jackson (Throwdown / Wrench / Cold War).
They decided to expand their original hardcore sound by adding elements of black and death metal to their music. The origin of the band's name was explained in an interview as follows: "Well, it is summed up by the explanation that whether black, white, red, brown, yellow, religious preference, straight or gay, we all bleed the same, and we bleed through this life the same. Thus Bleeding Through."
In February 2000, Bleeding Through recorded five songs using a 4-track recorder in Born's bedroom, which were released as the band's demo. The demo was followed by their debut full-length album, Dust to Ashes, released through Prime Directive Records on March 20, 2001. Just prior to entering the studio, Vijay Kumar (of Roundhouse and Cat Burglar) took the bass position and Molly Street enrolled as keyboard player. The addition of keyboards was an unconventional move for a metalcore act as it brought some black metal influences into the music.
Four months prior to the album being released, Born quit the band but a quickfire substitute was located in Derek Youngsma of Cast in Stone repute. Tafolla left the band in August 2001, following the band's first tour and was replaced by Brian Lepke.
Severing ties with Eighteen Visions, Schieppati opted to pursue Bleeding Through as a priority upon completion of the Indecision Records 2002 offering Portrait of the Goddess. At this juncture the group comprised the guitar pairing of Scott Danough and Brian Lepke, bassist Mick Morris (replacing Vijay Kumar who played on Portrait of the Goddess) and drummer Derek Youngsma.
This Is Love, This Is Murderous and The Truth (2003–2007)
After these two relatively under-distributed albums, Bleeding Through signed to a larger label, Trustkill Records in 2003, releasing their third full-length album in September of the same year. Promoting the Ulrich Wild produced This is Love, This is Murderous they embarked upon US nationwide touring, opening for AFI. These dates had propelled the band to national attention albeit for all the wrong reasons. Traveling from Utah to a show in Colorado the group's vehicle hit black ice on the highway, spinning out of control and slamming into a truck that was already flipped over. A mobile TV unit, there to report on another crash, caught the entire incident on film as their equipment trailer rolled and exploded, showering their instruments and gear across the road. Fortunately the band escaped with only minor injuries (Johnson had a minor cut on his head), but due to this accident they had to drop off the "Pure Hatred" tour with Chimaira, Soilwork and As I Lay Dying. The KSL-TV footage of the accident taking place can be viewed in Real Media format on the channel's official site. The dramatic televised footage was broadcast everywhere from CNN Headline News, Good Morning America, NBC News and even The Weather Channel.
This Is Love, This Is Murderous received generally favorable reviews from the mainstream media; Allmusic reviewer, Eduardo Rivadavia wrote that "Bleeding Through's blindingly technical execution provides a constant source of entertainment", and Aaron Troy from DecoyMusic.com called it "the best metalcore release of 2003". The metal community praised it as well, even to a greater extent, with Deadtide.com calling it "a very mature offering from still a young band that will only get better and bigger in the future", Metalrage giving it an 85 score out of 100, The videos for "Love Lost in a Hail of Gun Fire" and "On Wings of Lead" became staples on MTV2's Headbangers Ball and on Fuse TV's Uranium as well. It is also Bleeding Through's most successful album to date with more than 125,000 copies sold.
The following year kicked off with the band's "Mutilation Tour", which culminated in a sold-out performance at The Glasshouse, near their Orange County home that was captured on a live DVD, the next major step in Bleeding Through's career was a spot on Ozzfest 2004, sharing the second stage alongside headline act Slipknot and fellow supports Unearth, Lamb of God, Every Time I Die, Hatebreed, Lacuna Coil and Atreyu. They earned the direct support position on MTV2's third "Headbanger's Ball: The Tour" in November, featuring Cradle of Filth, Arch Enemy and Himsa as touring partners. In an unexpected move, Bleeding Through also donated their rendition of "Rocket Queen" to the Guns N' Roses tribute album Bring You to Your Knees released by Law of Inertia Records in March 2004.
A 2005 re-issue of This Is Love, This Is Murderous added three bonus live tracks, "Revenge I Seek", "Rise" and "Our Enemies", two music videos and a ten-minute documentary. Following this, the band embarked upon European touring in February 2005, supported by Swedes Cult of Luna. In April the group, working with Rob Caggiano as producer, ensconced themselves in Cherokee Studios, Los Angeles to cut a new album billed The Truth.
As This Is Love, This Is Murderous passed the 100,000 sales figure in the US, further touring found the band headlining the second annual "Strhess Fest" in alliance with Darkest Hour, Zao, Misery Signals, and Fight Paris commencing early July. Upon completion of these gigs the group hooked up with the "Warped Tour" for a two-week stretch. November saw shows with Day of Contempt, before the group entered the recording studio to lay down cover versions of Black Flag's "My War", for use on a tribute album, and Unbroken's "Fall On Proverb".
Bleeding Through's The Truth album was released on January 10, 2006, through Trustkill Records. The album was produced by Rob Caggiano, lead guitarist of Anthrax. The band decided to rebuild their sound from the ground up, quoting to Alternative Press as "Taking out the Metalcore, and then adding the metal into hardcore, if that makes any sense." (--Scott Danough, guitarist). "I don't think this album sounds like anything else out there right now. We're very proud of that fact." says guitarist Brian Leppke.
Kerrang! magazine declared that "The Truth" "is about to tear 2006 a new arsehole" upon the album's release in a 4 "KKKK" review (out of 5) while Billboard Magazine hailed the album as "one of the most important" heavy metal albums of the year. A few smaller critics were not so kind: Vik Bansal of musicOMH.com described it as an album that shows "whilst they're not quite there yet, Bleeding Through do have the ability to become bleeding edge", Allmusic's Eduardo Rivadavia's opinion was that the band "played it safe" this time and emphasized their "infuriatingly one-dimensional reliance on victimized, self-pitying lyrics of a middle school maturity level". Although some critics praised the improvement of production, recording, and mixing quality by Rob Caggiano, and the melodic approach to song writing. The album entered the Billboard 200 at No. 48, and No. 1 on the Top Independent Albums.
Promoting The Truth, the band opened 2006 with US dates throughout February and March backed by Every Time I Die, Between the Buried and Me and Haste the Day. The band also put in a significant appearance on the second stage at the Tool, Guns N' Roses and Metallica headlined Download Festival in Castle Donington, UK on June 9. On July 18, Bleeding Through appeared on The Tonight Show with Jay Leno. Stand-up comedian Mitch Fatel joined the band for a song, Brandan Schieppati called this "surreal in the best possible way".
The group once again played on the second stage at the 2006 Ozzfest, now as part of the non-rotating lineup along with Black Label Society, Unearth, Atreyu and Norma Jean. In addition to their own headline dates, they also filled Ozzfest "off dates" with shows supporting Disturbed, Avenged Sevenfold and Hatebreed. The band members were on a day off from the festival passing through Medford, Oregon, when they pulled into a Taco Bell parking lot to eat. This resulted in a fan recognizing them and then calling over a bunch of his friends. The band talked with the fans, signed autographs, posed for pictures and also asked the kids if there were any shows happening that night they could participate in. They ended up doing a small club concert with local bands, with roughly 150 people in attendance. The show was a benefit with all proceeds going toward cancer research.
In April 2007 Danough left the band. "We felt that we had grown apart and it was time for both parties to move on", the band wrote in a statement. After his departure he wrote on his MySpace blog: "..Just know that when this all comes out don't think you've seen the last of Scott. I'm on to the next chapter very soon and I'm excited to see what the future brings." After Danough's departure he was quickly replaced by Jona Weinhofen of Australian band I Killed The Prom Queen – one of several factors that led that band to split up.
Bleeding Through headlined the Darkness Over Europe 2007 Tour with I Killed The Prom Queen, All Shall Perish, and Caliban from February to March. The band then toured as the opening act for the Slayer and Marilyn Manson summer tour.
Following that, the group embarked on a six-week stint across the U.S. and parts of Canada opening for HIM, with the arduous year of touring finally reaching an end with shows in New York City, on December 1 and 2, 2007, while HIM was simply done touring North America and set to move on to Europe.
Declaration (2008–2009)
In March 2008, Bleeding Through announced Declaration as the title of its fifth studio release, a concept album about the rigors of being away from home. The band's frontman and lyricist Brandan Schieppati explained to Revolver in the magazine's May 2008 issue, "There are definitely places when we're traveling where every time we go there, we're like, 'Fuck, why do we have to be here?' Like, we'll be in France and all of a sudden we'll feel totally insignificant. You get the feeling that people's eyes are just burining a hole through you." The group recorded Declaration between April and May 2008 in Vancouver, Canada with producer Devin Townsend.
On June 6, 2008, the band released a blog on MTV's Headbangers Ball website. The blog addressed numerous disappointments the band had with Trustkill Records. These disappointments included unpaid royalties, lack of funding for Declaration, and an unapproved re-release of their 2006 album The Truth. Despite Trustkill's website saying that the new album, Declaration would be released August 2008, the band stated that they did not intend to hand over the master recording of the album, until they were paid the minimum fees required to pay back producer Devin Townsend, the band's management and Schieppati's father who loaned the band money for recording. In a follow-up blog on their MySpace page, Bleeding Through stated that "Trustkill Records delivered the funds necessary to complete the album and to compensate everyone who had loaned [us] cash."
Following the recording of Declaration, the group appeared at the 2008s Download Festival, which was held from June 13 to 15 at Donington Park, United Kingdom. During the festival, vocalist Brandan Schieppati spoke to Rock Sound TV about the group's dispute with its record label. During the conversation, Schieppati revealed that Bleeding Through has been contacted by a number of other record companies since the band went public with its Trustkill feud. In July 2008, Bleeding Through inked a European deal with German record label Nuclear Blast for the release of Declaration.
The band performed in the US 'No Fear Music Tour' with Bullet for My Valentine in August, and continued to support them throughout Europe with Lacuna Coil in November and December 2008. They also performed in two countries for the first time in 2008: Mexico and Russia. They performed in Mexico City in August as part of the Warped Tour with Underoath and MxPx and headlined four Russian shows in December.
On September 25, 2008, Machine Head frontman Robb Flynn joined the band on stage at The Warfield in San Francisco, and performed Bleeding Through's song "Revenge I Seek". The next day, Declaration was released in Europe by Nuclear Blast and September 30 in the US by Trustkill. The album sold under 6,000 copies in the United States in its first week of release to debut at number 104 on the Billboard 200 chart.
Bleeding Through co-headlined along with Darkest Hour the Thrash and Burn European Tour between April and May 2009. They will also headline "The Declaration Tour" in 2009 along with As Blood Runs Black, Impending Doom, The Acacia Strain. Guitarist Brian Leppke was unable to make it on tour resulting in Demon Hunter's Patrick Judge temporarily filling in for him. In late May 2009, Bleeding Through announced that Jona Weinhofen would be leaving the band and No Use for a Name guitarist Dave Nassie would replace him. Jona cited that while he loved his time in Bleeding Through, he decided that he should leave the band and return home to Australia with his family and friends. Following his departure Jona joined Bring Me The Horizon until January 2013.
The band embarked on a special West Coast tour in August to celebrate their ten-year anniversary, with supporters Carnifex, Miss May I, and Motionless in White. In early June 2009, Bleeding Through inked a deal with the Portland, Oregon-based independent record label Rise Records. Insinuating about the band's previous dispute with its former label Trustkill, Schieppati said, "We're very excited to align with a record label that has so much momentum and is growing when many seem to be faltering, dropping bands and firing employees."
Bleeding Through (2009–2010)
On October 12, 2009, Bleeding Through issued the statement, "Rest assured that everything is fine as far as The Band is concerned! We’re looking very forward to the Halloween show followed by the creation of our BRAND NEW ALBUM, which we can tell you will take place in December and January before our European tour with Machine Head, Hatebreed and All Shall Perish! That’s right, NEW Bleeding Through album in 2010," confirming the band will release a new album, which was self-titled and released by Rise Records on April 13, 2010, in North America and internationally through Roadrunner Records The album was produced by Zeuss.
The band supported the album with a lengthy tour of Europe, Japan and Australia with Machine Head and Hatebreed in the first part of 2010. This was followed by their own "Spring Breakdown" headlining tour in the US with Born Of Osiris, Sleeping Giant and more. The band returned to Europe for several festivals and a few headlining shows. The group released a video for the song "Anti-Hero". In August 2010 the group headlined the "California United" West Coast tour with Terror and The Ghost Inside. The following month they headlined "The Anti-Hero" tour across the US with support from For Today, After The Burial and more. After that they joined Parkway Drive and Comeback Kid for the European "Never Say Die!" tour. The band closed out 2010 with an appearance at the "Noise for Toyz" benefit show in Fullerton, California and released an iTunes / digital only single through Rise Records which was recorded during the sessions for the self-titled album.
The Great Fire, disbandment announcement and final tours (2010–2014)
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview:
Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we’re going to do it whenever we want to do it. There is no deadline right now, we don’t have any dates set, we don’t have the studio, we’re going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract.
On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012.
On January 3, 2013, the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014.
Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through.
The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17.
The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014.
In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010.
Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out. The final show was on August 3.
Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future.
Reunion and Love Will Kill All (2018–present)
On January 1, SharpTone Records issued a teaser for music they were releasing in 2018 and some listeners apparently recognized vocalist Brandan Schiepatti's voice on their page. On March 28, 2018, the band announced their new album, "Love Will Kill All" and will release on May 25 through SharpTone Records.
Musical style, influences and lyrical themes
Bleeding Through's music has been described as metalcore, melodic death metal, and symphonic black metal, and like many metalcore-labeled bands, Bleeding Through is influenced by Swedish melodic death metal. It is the most apparent on Dust to Ashes, while with time the band's music got gradually more and more melodic, with The Truth being the most melodic to date, even containing a power ballad, a novelty for the band. A keyboard player was introduced shortly before the band began performing as an unsigned act. According to former guitarist Scott Danough "it adds a different element" to their music.
Former guitarist Scott Danough has said that he is influenced by metal and hardcore bands, like At the Gates, Slayer, Cradle of Filth, Integrity and Earth Crisis. Vocalist Brandan Schieppati has mentioned American thrash metal bands as an influence on Bleeding Through, such as Testament or Exodus. In an interview, guitarist Brian Leppke added Cro-Mags, Entombed, Crowbar and Pantera to the list of influences. Keyboardist Marta Peterson is the one who brings industrial, symphonic black metal, and goth inspirations to the band's sound.
Although the band was often labeled as simply metalcore, when Brandan Schieppati was asked if he considered Bleeding Through a hardcore band, he said: "I think we're a hardcore band and I'll never say we are a metal band, we're all hardcore kids and we came from the hardcore scene. Ours is just a different version of hardcore, we're trying to do something which adds a different variety to the hardcore scene, which has been sounding the same way for so long."
Lyrical themes focuses such themes as pain, hate, loss, love and personal struggles.
Band members
Current lineup
Brandan Schieppati – lead vocals (1999–2014, 2016, 2018–present)
Derek Youngsma – drums (2001–2014, 2016, 2018–present)
Marta Peterson – keyboards (2003–2014, 2016, 2018–present)
Brian Leppke – rhythm guitar (2001–2014, 2016, 2018-present), lead guitar (2018-present)
Ryan Wombacher – bass, backing vocals (2002–2014, 2016, 2018-present)
Former members
Scott Danough – lead guitar (1999–2007, 2013–2014, 2016), rhythm guitar (2013–2014)
Javier Van Huss – rhythm guitar (1999)
Marc Jackson – bass (1999–2000)
Troy Born – drums (1999–2001)
Chad Tafolla – bass (1999), rhythm guitar (1999–2001)
Vijay Kumar – bass (2000–2002)
Molly Street – keyboards (2000–2003)
Jona Weinhofen – lead guitar, backing vocals (2007–2009, 2014)
Dave Nassie – rhythm guitar (2014), lead guitar (2009–2014)
Live musicians
Mick Morris – bass
Rocky Gray – drums
Dave Peters – lead and rhythm guitar
Patrick Judge – lead and rhythm guitar
Manny Contreras – rhythm and lead guitar
Mick Kenney – lead guitar
Mark Garza – drums
Justin Bock - bass guitar
Brandon Richter – lead guitar, backing vocals (2019)
Robert Bloomfield – bass (2019)
Timeline
Discography
Studio albums
DVDs
This Is Live, This Is Murderous (June 15, 2004, Kung Fu Records)
Wolves Among Sheep (November 15, 2005, Trustkill Records)
Appearance on compilations
MTV2 Headbangers Ball: The Revenge – "Kill to Believe"
The Best of Taste of Chaos – "On Wings of Lead"
The Best of Taste of Chaos Two. – "Love in Slow Motion"
Bring You to Your Knees: A Tribute to Guns N' Roses – "Rocket Queen"
Threat: Music That Inspired the Movie – "Number Seven with a Bullet"
Threat: Original Motion Picture Soundtrack (Soundtrack) – "Number Seven with a Bullet"
AMP Magazine Presents: Volume 1: Hardcore
Blood, Sweat & Ten Years – "On Wings of Lead" and "Love Lost in a Hale of Gunfire"
MTV2 Headbangers Ball, Vol. 2 – "Love Lost in a Hail of Gunfire" (censored)
Fighting Music 2
Our Impact Will Be Felt: A Tribute to Sick of It All – "We Want the Truth"
Trustkill Takeover, Vol. II – "One Last Second"
2005 Warped Tour Compilation – "Love Lost in a Hail of Gunfire"
Punk Goes '90s – "Stars" – Hum cover
Black on Black: A Tribute to Black Flag – "My War"
Metal Hammer 204 – "Anti-Hero"
Music videos
References
External links
Official website
Bleeding Through: A Different Package: Shout! Music Webzine on April 1, 2007
What Bleeding Through Can Do For You: Follow-up Interview with Derek Youngsma
1999 establishments in California
American metalcore musical groups
American technical death metal musical groups
Musical groups disestablished in 2014
Musical groups established in 1999
Musical groups from Orange County, California
Musical quintets
Nuclear Blast artists
Rise Records artists
Straight edge groups
Trustkill Records artists
| false |
[
"Return of the 1 Hit Wonder is the fourth album by rapper, Young MC. The album was released in 1997 for Overall Records and was Young MC's first release on an independent record label. While the album did not chart on any album charts, it did have two charting singles; \"Madame Buttafly\" reached No. 25 on the Hot Rap Songs and \"On & Poppin\" reached No. 23. The title refers to Young MC's only Billboard Hot 100 top 10 hit, \"Bust A Move\".\n\nTrack listing\n\"One Hit\" \n\"Freakie\" \n\"On & Poppin'\" \n\"You Ain't Gotta Lie Ta Kick It\" \n\"Madame Buttafly\" \n\"Lingerie\" \n\"Coast 2 Coast\" \n\"Fuel to the Fire\" \n\"Bring It Home\" \n\"Intensify\" \n\"Mr. Right Now\" \n\"On & Poppin'\" (Remix)\n\nReferences\n\nYoung MC albums\n1997 albums",
"Knockin' Boots 2001: A Sex Odyssey is the fifth and thus far final studio album by rapper Candyman. The album was released on February 6, 2001 for X-Ray Records and was produced by Candyman. The album was the fourth straight critical and commercial flop for Candyman and like his previous four albums, did not chart on any album charts or feature any hit singles.\n\nTrack listing\n\n2001 albums\nCandyman (rapper) albums"
] |
[
"Bleeding Through",
"The Great Fire, disbandment announcement and final tours (2010-2014)",
"What is the Great Fire?",
"On November 14, 2011, the band announced that the name of their new record would be called \"The Great Fire\".",
"Did they have any hit singles on this album?",
"On January 3, 2013 the band announced their upcoming tour in Europe would be their last,"
] |
C_776f27be3ed94aba961c2493b0ff6644_0
|
What happened?
| 3 |
What happened on Bleeding Through's 2013 tour in Europe?
|
Bleeding Through
|
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview: Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we're going to do it whenever we want to do it. There is no deadline right now, we don't have any dates set, we don't have the studio, we're going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract. On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012. On January 3, 2013 the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014. Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through. The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17. The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014. In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010. Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out fast. The final show was on August 3. Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future. CANNOTANSWER
|
leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page
|
Bleeding Through is an American metalcore band from Orange County, California. Formed in 1999, the band blended influences stemming from modern hardcore punk, symphonic black metal, and melodic death metal. In 2004, Revolver magazine hailed Bleeding Through as one of eight bands ushering in the "Future of Metal" cover story, and Spin called Bleeding Through an "artist to watch" in the magazine's February 2004 issue.
History
Dust to Ashes and Portrait of the Goddess (1999–2002)
Bleeding Through was formed in 1999 in Woodlake, California. The band's roots can be traced back to 1998, when a band named Breakneck was founded by vocalist Brandan "Ohrly" Schieppati (Eighteen Visions / Throwdown), guitarists Javier Van Huss (Eighteen Visions / Enewetak) and Scott Danough (Daggers), bass guitarist Chad Tafolla (Taken) and drummer Troy Born (Taken). Breakneck played their only show on October 30, 1998, at the Showcase Theatre in Corona, California, opening for Throwdown, Eighteen Visions, Adamantium, Give Until Gone and Swingset in June.
The band witnessed lineup changes, starting with the departure of Van Huss; he was briefly replaced by guitarist Dave Peters (Throwdown / Eighteen Visions), before Tafolla switched from playing bass to guitar. Brandon Conway came in as new bassist until the subsequent recruitment of Marc Jackson (Throwdown / Wrench / Cold War).
They decided to expand their original hardcore sound by adding elements of black and death metal to their music. The origin of the band's name was explained in an interview as follows: "Well, it is summed up by the explanation that whether black, white, red, brown, yellow, religious preference, straight or gay, we all bleed the same, and we bleed through this life the same. Thus Bleeding Through."
In February 2000, Bleeding Through recorded five songs using a 4-track recorder in Born's bedroom, which were released as the band's demo. The demo was followed by their debut full-length album, Dust to Ashes, released through Prime Directive Records on March 20, 2001. Just prior to entering the studio, Vijay Kumar (of Roundhouse and Cat Burglar) took the bass position and Molly Street enrolled as keyboard player. The addition of keyboards was an unconventional move for a metalcore act as it brought some black metal influences into the music.
Four months prior to the album being released, Born quit the band but a quickfire substitute was located in Derek Youngsma of Cast in Stone repute. Tafolla left the band in August 2001, following the band's first tour and was replaced by Brian Lepke.
Severing ties with Eighteen Visions, Schieppati opted to pursue Bleeding Through as a priority upon completion of the Indecision Records 2002 offering Portrait of the Goddess. At this juncture the group comprised the guitar pairing of Scott Danough and Brian Lepke, bassist Mick Morris (replacing Vijay Kumar who played on Portrait of the Goddess) and drummer Derek Youngsma.
This Is Love, This Is Murderous and The Truth (2003–2007)
After these two relatively under-distributed albums, Bleeding Through signed to a larger label, Trustkill Records in 2003, releasing their third full-length album in September of the same year. Promoting the Ulrich Wild produced This is Love, This is Murderous they embarked upon US nationwide touring, opening for AFI. These dates had propelled the band to national attention albeit for all the wrong reasons. Traveling from Utah to a show in Colorado the group's vehicle hit black ice on the highway, spinning out of control and slamming into a truck that was already flipped over. A mobile TV unit, there to report on another crash, caught the entire incident on film as their equipment trailer rolled and exploded, showering their instruments and gear across the road. Fortunately the band escaped with only minor injuries (Johnson had a minor cut on his head), but due to this accident they had to drop off the "Pure Hatred" tour with Chimaira, Soilwork and As I Lay Dying. The KSL-TV footage of the accident taking place can be viewed in Real Media format on the channel's official site. The dramatic televised footage was broadcast everywhere from CNN Headline News, Good Morning America, NBC News and even The Weather Channel.
This Is Love, This Is Murderous received generally favorable reviews from the mainstream media; Allmusic reviewer, Eduardo Rivadavia wrote that "Bleeding Through's blindingly technical execution provides a constant source of entertainment", and Aaron Troy from DecoyMusic.com called it "the best metalcore release of 2003". The metal community praised it as well, even to a greater extent, with Deadtide.com calling it "a very mature offering from still a young band that will only get better and bigger in the future", Metalrage giving it an 85 score out of 100, The videos for "Love Lost in a Hail of Gun Fire" and "On Wings of Lead" became staples on MTV2's Headbangers Ball and on Fuse TV's Uranium as well. It is also Bleeding Through's most successful album to date with more than 125,000 copies sold.
The following year kicked off with the band's "Mutilation Tour", which culminated in a sold-out performance at The Glasshouse, near their Orange County home that was captured on a live DVD, the next major step in Bleeding Through's career was a spot on Ozzfest 2004, sharing the second stage alongside headline act Slipknot and fellow supports Unearth, Lamb of God, Every Time I Die, Hatebreed, Lacuna Coil and Atreyu. They earned the direct support position on MTV2's third "Headbanger's Ball: The Tour" in November, featuring Cradle of Filth, Arch Enemy and Himsa as touring partners. In an unexpected move, Bleeding Through also donated their rendition of "Rocket Queen" to the Guns N' Roses tribute album Bring You to Your Knees released by Law of Inertia Records in March 2004.
A 2005 re-issue of This Is Love, This Is Murderous added three bonus live tracks, "Revenge I Seek", "Rise" and "Our Enemies", two music videos and a ten-minute documentary. Following this, the band embarked upon European touring in February 2005, supported by Swedes Cult of Luna. In April the group, working with Rob Caggiano as producer, ensconced themselves in Cherokee Studios, Los Angeles to cut a new album billed The Truth.
As This Is Love, This Is Murderous passed the 100,000 sales figure in the US, further touring found the band headlining the second annual "Strhess Fest" in alliance with Darkest Hour, Zao, Misery Signals, and Fight Paris commencing early July. Upon completion of these gigs the group hooked up with the "Warped Tour" for a two-week stretch. November saw shows with Day of Contempt, before the group entered the recording studio to lay down cover versions of Black Flag's "My War", for use on a tribute album, and Unbroken's "Fall On Proverb".
Bleeding Through's The Truth album was released on January 10, 2006, through Trustkill Records. The album was produced by Rob Caggiano, lead guitarist of Anthrax. The band decided to rebuild their sound from the ground up, quoting to Alternative Press as "Taking out the Metalcore, and then adding the metal into hardcore, if that makes any sense." (--Scott Danough, guitarist). "I don't think this album sounds like anything else out there right now. We're very proud of that fact." says guitarist Brian Leppke.
Kerrang! magazine declared that "The Truth" "is about to tear 2006 a new arsehole" upon the album's release in a 4 "KKKK" review (out of 5) while Billboard Magazine hailed the album as "one of the most important" heavy metal albums of the year. A few smaller critics were not so kind: Vik Bansal of musicOMH.com described it as an album that shows "whilst they're not quite there yet, Bleeding Through do have the ability to become bleeding edge", Allmusic's Eduardo Rivadavia's opinion was that the band "played it safe" this time and emphasized their "infuriatingly one-dimensional reliance on victimized, self-pitying lyrics of a middle school maturity level". Although some critics praised the improvement of production, recording, and mixing quality by Rob Caggiano, and the melodic approach to song writing. The album entered the Billboard 200 at No. 48, and No. 1 on the Top Independent Albums.
Promoting The Truth, the band opened 2006 with US dates throughout February and March backed by Every Time I Die, Between the Buried and Me and Haste the Day. The band also put in a significant appearance on the second stage at the Tool, Guns N' Roses and Metallica headlined Download Festival in Castle Donington, UK on June 9. On July 18, Bleeding Through appeared on The Tonight Show with Jay Leno. Stand-up comedian Mitch Fatel joined the band for a song, Brandan Schieppati called this "surreal in the best possible way".
The group once again played on the second stage at the 2006 Ozzfest, now as part of the non-rotating lineup along with Black Label Society, Unearth, Atreyu and Norma Jean. In addition to their own headline dates, they also filled Ozzfest "off dates" with shows supporting Disturbed, Avenged Sevenfold and Hatebreed. The band members were on a day off from the festival passing through Medford, Oregon, when they pulled into a Taco Bell parking lot to eat. This resulted in a fan recognizing them and then calling over a bunch of his friends. The band talked with the fans, signed autographs, posed for pictures and also asked the kids if there were any shows happening that night they could participate in. They ended up doing a small club concert with local bands, with roughly 150 people in attendance. The show was a benefit with all proceeds going toward cancer research.
In April 2007 Danough left the band. "We felt that we had grown apart and it was time for both parties to move on", the band wrote in a statement. After his departure he wrote on his MySpace blog: "..Just know that when this all comes out don't think you've seen the last of Scott. I'm on to the next chapter very soon and I'm excited to see what the future brings." After Danough's departure he was quickly replaced by Jona Weinhofen of Australian band I Killed The Prom Queen – one of several factors that led that band to split up.
Bleeding Through headlined the Darkness Over Europe 2007 Tour with I Killed The Prom Queen, All Shall Perish, and Caliban from February to March. The band then toured as the opening act for the Slayer and Marilyn Manson summer tour.
Following that, the group embarked on a six-week stint across the U.S. and parts of Canada opening for HIM, with the arduous year of touring finally reaching an end with shows in New York City, on December 1 and 2, 2007, while HIM was simply done touring North America and set to move on to Europe.
Declaration (2008–2009)
In March 2008, Bleeding Through announced Declaration as the title of its fifth studio release, a concept album about the rigors of being away from home. The band's frontman and lyricist Brandan Schieppati explained to Revolver in the magazine's May 2008 issue, "There are definitely places when we're traveling where every time we go there, we're like, 'Fuck, why do we have to be here?' Like, we'll be in France and all of a sudden we'll feel totally insignificant. You get the feeling that people's eyes are just burining a hole through you." The group recorded Declaration between April and May 2008 in Vancouver, Canada with producer Devin Townsend.
On June 6, 2008, the band released a blog on MTV's Headbangers Ball website. The blog addressed numerous disappointments the band had with Trustkill Records. These disappointments included unpaid royalties, lack of funding for Declaration, and an unapproved re-release of their 2006 album The Truth. Despite Trustkill's website saying that the new album, Declaration would be released August 2008, the band stated that they did not intend to hand over the master recording of the album, until they were paid the minimum fees required to pay back producer Devin Townsend, the band's management and Schieppati's father who loaned the band money for recording. In a follow-up blog on their MySpace page, Bleeding Through stated that "Trustkill Records delivered the funds necessary to complete the album and to compensate everyone who had loaned [us] cash."
Following the recording of Declaration, the group appeared at the 2008s Download Festival, which was held from June 13 to 15 at Donington Park, United Kingdom. During the festival, vocalist Brandan Schieppati spoke to Rock Sound TV about the group's dispute with its record label. During the conversation, Schieppati revealed that Bleeding Through has been contacted by a number of other record companies since the band went public with its Trustkill feud. In July 2008, Bleeding Through inked a European deal with German record label Nuclear Blast for the release of Declaration.
The band performed in the US 'No Fear Music Tour' with Bullet for My Valentine in August, and continued to support them throughout Europe with Lacuna Coil in November and December 2008. They also performed in two countries for the first time in 2008: Mexico and Russia. They performed in Mexico City in August as part of the Warped Tour with Underoath and MxPx and headlined four Russian shows in December.
On September 25, 2008, Machine Head frontman Robb Flynn joined the band on stage at The Warfield in San Francisco, and performed Bleeding Through's song "Revenge I Seek". The next day, Declaration was released in Europe by Nuclear Blast and September 30 in the US by Trustkill. The album sold under 6,000 copies in the United States in its first week of release to debut at number 104 on the Billboard 200 chart.
Bleeding Through co-headlined along with Darkest Hour the Thrash and Burn European Tour between April and May 2009. They will also headline "The Declaration Tour" in 2009 along with As Blood Runs Black, Impending Doom, The Acacia Strain. Guitarist Brian Leppke was unable to make it on tour resulting in Demon Hunter's Patrick Judge temporarily filling in for him. In late May 2009, Bleeding Through announced that Jona Weinhofen would be leaving the band and No Use for a Name guitarist Dave Nassie would replace him. Jona cited that while he loved his time in Bleeding Through, he decided that he should leave the band and return home to Australia with his family and friends. Following his departure Jona joined Bring Me The Horizon until January 2013.
The band embarked on a special West Coast tour in August to celebrate their ten-year anniversary, with supporters Carnifex, Miss May I, and Motionless in White. In early June 2009, Bleeding Through inked a deal with the Portland, Oregon-based independent record label Rise Records. Insinuating about the band's previous dispute with its former label Trustkill, Schieppati said, "We're very excited to align with a record label that has so much momentum and is growing when many seem to be faltering, dropping bands and firing employees."
Bleeding Through (2009–2010)
On October 12, 2009, Bleeding Through issued the statement, "Rest assured that everything is fine as far as The Band is concerned! We’re looking very forward to the Halloween show followed by the creation of our BRAND NEW ALBUM, which we can tell you will take place in December and January before our European tour with Machine Head, Hatebreed and All Shall Perish! That’s right, NEW Bleeding Through album in 2010," confirming the band will release a new album, which was self-titled and released by Rise Records on April 13, 2010, in North America and internationally through Roadrunner Records The album was produced by Zeuss.
The band supported the album with a lengthy tour of Europe, Japan and Australia with Machine Head and Hatebreed in the first part of 2010. This was followed by their own "Spring Breakdown" headlining tour in the US with Born Of Osiris, Sleeping Giant and more. The band returned to Europe for several festivals and a few headlining shows. The group released a video for the song "Anti-Hero". In August 2010 the group headlined the "California United" West Coast tour with Terror and The Ghost Inside. The following month they headlined "The Anti-Hero" tour across the US with support from For Today, After The Burial and more. After that they joined Parkway Drive and Comeback Kid for the European "Never Say Die!" tour. The band closed out 2010 with an appearance at the "Noise for Toyz" benefit show in Fullerton, California and released an iTunes / digital only single through Rise Records which was recorded during the sessions for the self-titled album.
The Great Fire, disbandment announcement and final tours (2010–2014)
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview:
Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we’re going to do it whenever we want to do it. There is no deadline right now, we don’t have any dates set, we don’t have the studio, we’re going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract.
On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012.
On January 3, 2013, the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014.
Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through.
The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17.
The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014.
In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010.
Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out. The final show was on August 3.
Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future.
Reunion and Love Will Kill All (2018–present)
On January 1, SharpTone Records issued a teaser for music they were releasing in 2018 and some listeners apparently recognized vocalist Brandan Schiepatti's voice on their page. On March 28, 2018, the band announced their new album, "Love Will Kill All" and will release on May 25 through SharpTone Records.
Musical style, influences and lyrical themes
Bleeding Through's music has been described as metalcore, melodic death metal, and symphonic black metal, and like many metalcore-labeled bands, Bleeding Through is influenced by Swedish melodic death metal. It is the most apparent on Dust to Ashes, while with time the band's music got gradually more and more melodic, with The Truth being the most melodic to date, even containing a power ballad, a novelty for the band. A keyboard player was introduced shortly before the band began performing as an unsigned act. According to former guitarist Scott Danough "it adds a different element" to their music.
Former guitarist Scott Danough has said that he is influenced by metal and hardcore bands, like At the Gates, Slayer, Cradle of Filth, Integrity and Earth Crisis. Vocalist Brandan Schieppati has mentioned American thrash metal bands as an influence on Bleeding Through, such as Testament or Exodus. In an interview, guitarist Brian Leppke added Cro-Mags, Entombed, Crowbar and Pantera to the list of influences. Keyboardist Marta Peterson is the one who brings industrial, symphonic black metal, and goth inspirations to the band's sound.
Although the band was often labeled as simply metalcore, when Brandan Schieppati was asked if he considered Bleeding Through a hardcore band, he said: "I think we're a hardcore band and I'll never say we are a metal band, we're all hardcore kids and we came from the hardcore scene. Ours is just a different version of hardcore, we're trying to do something which adds a different variety to the hardcore scene, which has been sounding the same way for so long."
Lyrical themes focuses such themes as pain, hate, loss, love and personal struggles.
Band members
Current lineup
Brandan Schieppati – lead vocals (1999–2014, 2016, 2018–present)
Derek Youngsma – drums (2001–2014, 2016, 2018–present)
Marta Peterson – keyboards (2003–2014, 2016, 2018–present)
Brian Leppke – rhythm guitar (2001–2014, 2016, 2018-present), lead guitar (2018-present)
Ryan Wombacher – bass, backing vocals (2002–2014, 2016, 2018-present)
Former members
Scott Danough – lead guitar (1999–2007, 2013–2014, 2016), rhythm guitar (2013–2014)
Javier Van Huss – rhythm guitar (1999)
Marc Jackson – bass (1999–2000)
Troy Born – drums (1999–2001)
Chad Tafolla – bass (1999), rhythm guitar (1999–2001)
Vijay Kumar – bass (2000–2002)
Molly Street – keyboards (2000–2003)
Jona Weinhofen – lead guitar, backing vocals (2007–2009, 2014)
Dave Nassie – rhythm guitar (2014), lead guitar (2009–2014)
Live musicians
Mick Morris – bass
Rocky Gray – drums
Dave Peters – lead and rhythm guitar
Patrick Judge – lead and rhythm guitar
Manny Contreras – rhythm and lead guitar
Mick Kenney – lead guitar
Mark Garza – drums
Justin Bock - bass guitar
Brandon Richter – lead guitar, backing vocals (2019)
Robert Bloomfield – bass (2019)
Timeline
Discography
Studio albums
DVDs
This Is Live, This Is Murderous (June 15, 2004, Kung Fu Records)
Wolves Among Sheep (November 15, 2005, Trustkill Records)
Appearance on compilations
MTV2 Headbangers Ball: The Revenge – "Kill to Believe"
The Best of Taste of Chaos – "On Wings of Lead"
The Best of Taste of Chaos Two. – "Love in Slow Motion"
Bring You to Your Knees: A Tribute to Guns N' Roses – "Rocket Queen"
Threat: Music That Inspired the Movie – "Number Seven with a Bullet"
Threat: Original Motion Picture Soundtrack (Soundtrack) – "Number Seven with a Bullet"
AMP Magazine Presents: Volume 1: Hardcore
Blood, Sweat & Ten Years – "On Wings of Lead" and "Love Lost in a Hale of Gunfire"
MTV2 Headbangers Ball, Vol. 2 – "Love Lost in a Hail of Gunfire" (censored)
Fighting Music 2
Our Impact Will Be Felt: A Tribute to Sick of It All – "We Want the Truth"
Trustkill Takeover, Vol. II – "One Last Second"
2005 Warped Tour Compilation – "Love Lost in a Hail of Gunfire"
Punk Goes '90s – "Stars" – Hum cover
Black on Black: A Tribute to Black Flag – "My War"
Metal Hammer 204 – "Anti-Hero"
Music videos
References
External links
Official website
Bleeding Through: A Different Package: Shout! Music Webzine on April 1, 2007
What Bleeding Through Can Do For You: Follow-up Interview with Derek Youngsma
1999 establishments in California
American metalcore musical groups
American technical death metal musical groups
Musical groups disestablished in 2014
Musical groups established in 1999
Musical groups from Orange County, California
Musical quintets
Nuclear Blast artists
Rise Records artists
Straight edge groups
Trustkill Records artists
| true |
[
"What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy",
"What Happened may refer to:\n\n What Happened (Clinton book), 2017 book by Hillary Clinton\n What Happened (McClellan book), 2008 autobiography by Scott McClellan\n \"What Happened\", a song by Sublime from the album 40oz. to Freedom\n \"What Happened\", an episode of One Day at a Time (2017 TV series)\n\nSee also\nWhat's Happening (disambiguation)"
] |
[
"Bleeding Through",
"The Great Fire, disbandment announcement and final tours (2010-2014)",
"What is the Great Fire?",
"On November 14, 2011, the band announced that the name of their new record would be called \"The Great Fire\".",
"Did they have any hit singles on this album?",
"On January 3, 2013 the band announced their upcoming tour in Europe would be their last,",
"What happened?",
"leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page"
] |
C_776f27be3ed94aba961c2493b0ff6644_0
|
Was their final tour a success?
| 4 |
Was Bleeding Through's final tour a success?
|
Bleeding Through
|
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview: Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we're going to do it whenever we want to do it. There is no deadline right now, we don't have any dates set, we don't have the studio, we're going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract. On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012. On January 3, 2013 the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014. Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through. The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17. The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014. In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010. Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out fast. The final show was on August 3. Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future. CANNOTANSWER
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November 2013 the band announced final west coast dates will take place in 2014.
|
Bleeding Through is an American metalcore band from Orange County, California. Formed in 1999, the band blended influences stemming from modern hardcore punk, symphonic black metal, and melodic death metal. In 2004, Revolver magazine hailed Bleeding Through as one of eight bands ushering in the "Future of Metal" cover story, and Spin called Bleeding Through an "artist to watch" in the magazine's February 2004 issue.
History
Dust to Ashes and Portrait of the Goddess (1999–2002)
Bleeding Through was formed in 1999 in Woodlake, California. The band's roots can be traced back to 1998, when a band named Breakneck was founded by vocalist Brandan "Ohrly" Schieppati (Eighteen Visions / Throwdown), guitarists Javier Van Huss (Eighteen Visions / Enewetak) and Scott Danough (Daggers), bass guitarist Chad Tafolla (Taken) and drummer Troy Born (Taken). Breakneck played their only show on October 30, 1998, at the Showcase Theatre in Corona, California, opening for Throwdown, Eighteen Visions, Adamantium, Give Until Gone and Swingset in June.
The band witnessed lineup changes, starting with the departure of Van Huss; he was briefly replaced by guitarist Dave Peters (Throwdown / Eighteen Visions), before Tafolla switched from playing bass to guitar. Brandon Conway came in as new bassist until the subsequent recruitment of Marc Jackson (Throwdown / Wrench / Cold War).
They decided to expand their original hardcore sound by adding elements of black and death metal to their music. The origin of the band's name was explained in an interview as follows: "Well, it is summed up by the explanation that whether black, white, red, brown, yellow, religious preference, straight or gay, we all bleed the same, and we bleed through this life the same. Thus Bleeding Through."
In February 2000, Bleeding Through recorded five songs using a 4-track recorder in Born's bedroom, which were released as the band's demo. The demo was followed by their debut full-length album, Dust to Ashes, released through Prime Directive Records on March 20, 2001. Just prior to entering the studio, Vijay Kumar (of Roundhouse and Cat Burglar) took the bass position and Molly Street enrolled as keyboard player. The addition of keyboards was an unconventional move for a metalcore act as it brought some black metal influences into the music.
Four months prior to the album being released, Born quit the band but a quickfire substitute was located in Derek Youngsma of Cast in Stone repute. Tafolla left the band in August 2001, following the band's first tour and was replaced by Brian Lepke.
Severing ties with Eighteen Visions, Schieppati opted to pursue Bleeding Through as a priority upon completion of the Indecision Records 2002 offering Portrait of the Goddess. At this juncture the group comprised the guitar pairing of Scott Danough and Brian Lepke, bassist Mick Morris (replacing Vijay Kumar who played on Portrait of the Goddess) and drummer Derek Youngsma.
This Is Love, This Is Murderous and The Truth (2003–2007)
After these two relatively under-distributed albums, Bleeding Through signed to a larger label, Trustkill Records in 2003, releasing their third full-length album in September of the same year. Promoting the Ulrich Wild produced This is Love, This is Murderous they embarked upon US nationwide touring, opening for AFI. These dates had propelled the band to national attention albeit for all the wrong reasons. Traveling from Utah to a show in Colorado the group's vehicle hit black ice on the highway, spinning out of control and slamming into a truck that was already flipped over. A mobile TV unit, there to report on another crash, caught the entire incident on film as their equipment trailer rolled and exploded, showering their instruments and gear across the road. Fortunately the band escaped with only minor injuries (Johnson had a minor cut on his head), but due to this accident they had to drop off the "Pure Hatred" tour with Chimaira, Soilwork and As I Lay Dying. The KSL-TV footage of the accident taking place can be viewed in Real Media format on the channel's official site. The dramatic televised footage was broadcast everywhere from CNN Headline News, Good Morning America, NBC News and even The Weather Channel.
This Is Love, This Is Murderous received generally favorable reviews from the mainstream media; Allmusic reviewer, Eduardo Rivadavia wrote that "Bleeding Through's blindingly technical execution provides a constant source of entertainment", and Aaron Troy from DecoyMusic.com called it "the best metalcore release of 2003". The metal community praised it as well, even to a greater extent, with Deadtide.com calling it "a very mature offering from still a young band that will only get better and bigger in the future", Metalrage giving it an 85 score out of 100, The videos for "Love Lost in a Hail of Gun Fire" and "On Wings of Lead" became staples on MTV2's Headbangers Ball and on Fuse TV's Uranium as well. It is also Bleeding Through's most successful album to date with more than 125,000 copies sold.
The following year kicked off with the band's "Mutilation Tour", which culminated in a sold-out performance at The Glasshouse, near their Orange County home that was captured on a live DVD, the next major step in Bleeding Through's career was a spot on Ozzfest 2004, sharing the second stage alongside headline act Slipknot and fellow supports Unearth, Lamb of God, Every Time I Die, Hatebreed, Lacuna Coil and Atreyu. They earned the direct support position on MTV2's third "Headbanger's Ball: The Tour" in November, featuring Cradle of Filth, Arch Enemy and Himsa as touring partners. In an unexpected move, Bleeding Through also donated their rendition of "Rocket Queen" to the Guns N' Roses tribute album Bring You to Your Knees released by Law of Inertia Records in March 2004.
A 2005 re-issue of This Is Love, This Is Murderous added three bonus live tracks, "Revenge I Seek", "Rise" and "Our Enemies", two music videos and a ten-minute documentary. Following this, the band embarked upon European touring in February 2005, supported by Swedes Cult of Luna. In April the group, working with Rob Caggiano as producer, ensconced themselves in Cherokee Studios, Los Angeles to cut a new album billed The Truth.
As This Is Love, This Is Murderous passed the 100,000 sales figure in the US, further touring found the band headlining the second annual "Strhess Fest" in alliance with Darkest Hour, Zao, Misery Signals, and Fight Paris commencing early July. Upon completion of these gigs the group hooked up with the "Warped Tour" for a two-week stretch. November saw shows with Day of Contempt, before the group entered the recording studio to lay down cover versions of Black Flag's "My War", for use on a tribute album, and Unbroken's "Fall On Proverb".
Bleeding Through's The Truth album was released on January 10, 2006, through Trustkill Records. The album was produced by Rob Caggiano, lead guitarist of Anthrax. The band decided to rebuild their sound from the ground up, quoting to Alternative Press as "Taking out the Metalcore, and then adding the metal into hardcore, if that makes any sense." (--Scott Danough, guitarist). "I don't think this album sounds like anything else out there right now. We're very proud of that fact." says guitarist Brian Leppke.
Kerrang! magazine declared that "The Truth" "is about to tear 2006 a new arsehole" upon the album's release in a 4 "KKKK" review (out of 5) while Billboard Magazine hailed the album as "one of the most important" heavy metal albums of the year. A few smaller critics were not so kind: Vik Bansal of musicOMH.com described it as an album that shows "whilst they're not quite there yet, Bleeding Through do have the ability to become bleeding edge", Allmusic's Eduardo Rivadavia's opinion was that the band "played it safe" this time and emphasized their "infuriatingly one-dimensional reliance on victimized, self-pitying lyrics of a middle school maturity level". Although some critics praised the improvement of production, recording, and mixing quality by Rob Caggiano, and the melodic approach to song writing. The album entered the Billboard 200 at No. 48, and No. 1 on the Top Independent Albums.
Promoting The Truth, the band opened 2006 with US dates throughout February and March backed by Every Time I Die, Between the Buried and Me and Haste the Day. The band also put in a significant appearance on the second stage at the Tool, Guns N' Roses and Metallica headlined Download Festival in Castle Donington, UK on June 9. On July 18, Bleeding Through appeared on The Tonight Show with Jay Leno. Stand-up comedian Mitch Fatel joined the band for a song, Brandan Schieppati called this "surreal in the best possible way".
The group once again played on the second stage at the 2006 Ozzfest, now as part of the non-rotating lineup along with Black Label Society, Unearth, Atreyu and Norma Jean. In addition to their own headline dates, they also filled Ozzfest "off dates" with shows supporting Disturbed, Avenged Sevenfold and Hatebreed. The band members were on a day off from the festival passing through Medford, Oregon, when they pulled into a Taco Bell parking lot to eat. This resulted in a fan recognizing them and then calling over a bunch of his friends. The band talked with the fans, signed autographs, posed for pictures and also asked the kids if there were any shows happening that night they could participate in. They ended up doing a small club concert with local bands, with roughly 150 people in attendance. The show was a benefit with all proceeds going toward cancer research.
In April 2007 Danough left the band. "We felt that we had grown apart and it was time for both parties to move on", the band wrote in a statement. After his departure he wrote on his MySpace blog: "..Just know that when this all comes out don't think you've seen the last of Scott. I'm on to the next chapter very soon and I'm excited to see what the future brings." After Danough's departure he was quickly replaced by Jona Weinhofen of Australian band I Killed The Prom Queen – one of several factors that led that band to split up.
Bleeding Through headlined the Darkness Over Europe 2007 Tour with I Killed The Prom Queen, All Shall Perish, and Caliban from February to March. The band then toured as the opening act for the Slayer and Marilyn Manson summer tour.
Following that, the group embarked on a six-week stint across the U.S. and parts of Canada opening for HIM, with the arduous year of touring finally reaching an end with shows in New York City, on December 1 and 2, 2007, while HIM was simply done touring North America and set to move on to Europe.
Declaration (2008–2009)
In March 2008, Bleeding Through announced Declaration as the title of its fifth studio release, a concept album about the rigors of being away from home. The band's frontman and lyricist Brandan Schieppati explained to Revolver in the magazine's May 2008 issue, "There are definitely places when we're traveling where every time we go there, we're like, 'Fuck, why do we have to be here?' Like, we'll be in France and all of a sudden we'll feel totally insignificant. You get the feeling that people's eyes are just burining a hole through you." The group recorded Declaration between April and May 2008 in Vancouver, Canada with producer Devin Townsend.
On June 6, 2008, the band released a blog on MTV's Headbangers Ball website. The blog addressed numerous disappointments the band had with Trustkill Records. These disappointments included unpaid royalties, lack of funding for Declaration, and an unapproved re-release of their 2006 album The Truth. Despite Trustkill's website saying that the new album, Declaration would be released August 2008, the band stated that they did not intend to hand over the master recording of the album, until they were paid the minimum fees required to pay back producer Devin Townsend, the band's management and Schieppati's father who loaned the band money for recording. In a follow-up blog on their MySpace page, Bleeding Through stated that "Trustkill Records delivered the funds necessary to complete the album and to compensate everyone who had loaned [us] cash."
Following the recording of Declaration, the group appeared at the 2008s Download Festival, which was held from June 13 to 15 at Donington Park, United Kingdom. During the festival, vocalist Brandan Schieppati spoke to Rock Sound TV about the group's dispute with its record label. During the conversation, Schieppati revealed that Bleeding Through has been contacted by a number of other record companies since the band went public with its Trustkill feud. In July 2008, Bleeding Through inked a European deal with German record label Nuclear Blast for the release of Declaration.
The band performed in the US 'No Fear Music Tour' with Bullet for My Valentine in August, and continued to support them throughout Europe with Lacuna Coil in November and December 2008. They also performed in two countries for the first time in 2008: Mexico and Russia. They performed in Mexico City in August as part of the Warped Tour with Underoath and MxPx and headlined four Russian shows in December.
On September 25, 2008, Machine Head frontman Robb Flynn joined the band on stage at The Warfield in San Francisco, and performed Bleeding Through's song "Revenge I Seek". The next day, Declaration was released in Europe by Nuclear Blast and September 30 in the US by Trustkill. The album sold under 6,000 copies in the United States in its first week of release to debut at number 104 on the Billboard 200 chart.
Bleeding Through co-headlined along with Darkest Hour the Thrash and Burn European Tour between April and May 2009. They will also headline "The Declaration Tour" in 2009 along with As Blood Runs Black, Impending Doom, The Acacia Strain. Guitarist Brian Leppke was unable to make it on tour resulting in Demon Hunter's Patrick Judge temporarily filling in for him. In late May 2009, Bleeding Through announced that Jona Weinhofen would be leaving the band and No Use for a Name guitarist Dave Nassie would replace him. Jona cited that while he loved his time in Bleeding Through, he decided that he should leave the band and return home to Australia with his family and friends. Following his departure Jona joined Bring Me The Horizon until January 2013.
The band embarked on a special West Coast tour in August to celebrate their ten-year anniversary, with supporters Carnifex, Miss May I, and Motionless in White. In early June 2009, Bleeding Through inked a deal with the Portland, Oregon-based independent record label Rise Records. Insinuating about the band's previous dispute with its former label Trustkill, Schieppati said, "We're very excited to align with a record label that has so much momentum and is growing when many seem to be faltering, dropping bands and firing employees."
Bleeding Through (2009–2010)
On October 12, 2009, Bleeding Through issued the statement, "Rest assured that everything is fine as far as The Band is concerned! We’re looking very forward to the Halloween show followed by the creation of our BRAND NEW ALBUM, which we can tell you will take place in December and January before our European tour with Machine Head, Hatebreed and All Shall Perish! That’s right, NEW Bleeding Through album in 2010," confirming the band will release a new album, which was self-titled and released by Rise Records on April 13, 2010, in North America and internationally through Roadrunner Records The album was produced by Zeuss.
The band supported the album with a lengthy tour of Europe, Japan and Australia with Machine Head and Hatebreed in the first part of 2010. This was followed by their own "Spring Breakdown" headlining tour in the US with Born Of Osiris, Sleeping Giant and more. The band returned to Europe for several festivals and a few headlining shows. The group released a video for the song "Anti-Hero". In August 2010 the group headlined the "California United" West Coast tour with Terror and The Ghost Inside. The following month they headlined "The Anti-Hero" tour across the US with support from For Today, After The Burial and more. After that they joined Parkway Drive and Comeback Kid for the European "Never Say Die!" tour. The band closed out 2010 with an appearance at the "Noise for Toyz" benefit show in Fullerton, California and released an iTunes / digital only single through Rise Records which was recorded during the sessions for the self-titled album.
The Great Fire, disbandment announcement and final tours (2010–2014)
The band planned to write and record their seventh studio album once they returned from touring. They planned to release the yet to be titled album anywhere from mid to late 2011, which bassist Ryan Wombacher explained in a November 2010 interview:
Maybe mid-year; safe to say towards the end but not at the end, maybe like eight months or something like that. Best thing about it is we’re going to do it whenever we want to do it. There is no deadline right now, we don’t have any dates set, we don’t have the studio, we’re going to do the record ourselves. So we will literally go in and record it and it will be probably be done before we sign a contract.
On November 14, 2011, the band announced that the name of their new record would be called "The Great Fire". On November 30, 2011, the band announced that "The Great Fire" was complete, although no release date has been stated. On December 14, 2011, the band revealed The Great Fire's release date as January 31, 2012.
On January 3, 2013, the band announced their upcoming tour in Europe would be their last, leading to rumors that the band would be breaking up. This was later confirmed by a post on the band's Facebook page that they would be finished at the end of the year. The band also stated that they would like to set up an Australian tour during the summer and singer Brandan Schieppati stated in a reply to an Instagram comment that the band would have a final U.S. tour possibly starting in September. November 2013 the band announced final west coast dates will take place in 2014.
Former guitarist and founding member Scott Danough played with the band on the final tours in Australia, Europe and the U.S. He was added to the band's current lineup as of July 2014 on their Facebook page, which is led to believe he has rejoined Bleeding Through.
The first show to kick off 2014 was their final appearance at New England Hardcore & Metal Fest at the Palladium in Worcester Massachusetts on April 17.
The line up was made up of Brandan Schieppati, Scott Danough, Ryan Wombacher, Marta Peterson, Derek Youngsma and Dave Nassie's final appearance with the band in 2014.
In May, the final nine west coast dates were announced with Winds of Plague and Scars of Tomorrow. A majority of the shows the band played were sold out. It was later announced in June that the first three of the west coast dates would be the "This Is Love This Is Murderous" line up which included Brian Leppke on guitar since he hasn't toured with Bleeding Through since 2010.
Sacramento, Portland and Seattle shows featured Declaration era ex member Jona Weinhofen on guitar. In July another show on August 2 was added at Chain Reaction because the August 3 show sold out. The final show was on August 3.
Brandan Schieppati's podcast he made it clear the final shows were very emotional and he realized how well they all played together. He said something may come from the band in the future.
Reunion and Love Will Kill All (2018–present)
On January 1, SharpTone Records issued a teaser for music they were releasing in 2018 and some listeners apparently recognized vocalist Brandan Schiepatti's voice on their page. On March 28, 2018, the band announced their new album, "Love Will Kill All" and will release on May 25 through SharpTone Records.
Musical style, influences and lyrical themes
Bleeding Through's music has been described as metalcore, melodic death metal, and symphonic black metal, and like many metalcore-labeled bands, Bleeding Through is influenced by Swedish melodic death metal. It is the most apparent on Dust to Ashes, while with time the band's music got gradually more and more melodic, with The Truth being the most melodic to date, even containing a power ballad, a novelty for the band. A keyboard player was introduced shortly before the band began performing as an unsigned act. According to former guitarist Scott Danough "it adds a different element" to their music.
Former guitarist Scott Danough has said that he is influenced by metal and hardcore bands, like At the Gates, Slayer, Cradle of Filth, Integrity and Earth Crisis. Vocalist Brandan Schieppati has mentioned American thrash metal bands as an influence on Bleeding Through, such as Testament or Exodus. In an interview, guitarist Brian Leppke added Cro-Mags, Entombed, Crowbar and Pantera to the list of influences. Keyboardist Marta Peterson is the one who brings industrial, symphonic black metal, and goth inspirations to the band's sound.
Although the band was often labeled as simply metalcore, when Brandan Schieppati was asked if he considered Bleeding Through a hardcore band, he said: "I think we're a hardcore band and I'll never say we are a metal band, we're all hardcore kids and we came from the hardcore scene. Ours is just a different version of hardcore, we're trying to do something which adds a different variety to the hardcore scene, which has been sounding the same way for so long."
Lyrical themes focuses such themes as pain, hate, loss, love and personal struggles.
Band members
Current lineup
Brandan Schieppati – lead vocals (1999–2014, 2016, 2018–present)
Derek Youngsma – drums (2001–2014, 2016, 2018–present)
Marta Peterson – keyboards (2003–2014, 2016, 2018–present)
Brian Leppke – rhythm guitar (2001–2014, 2016, 2018-present), lead guitar (2018-present)
Ryan Wombacher – bass, backing vocals (2002–2014, 2016, 2018-present)
Former members
Scott Danough – lead guitar (1999–2007, 2013–2014, 2016), rhythm guitar (2013–2014)
Javier Van Huss – rhythm guitar (1999)
Marc Jackson – bass (1999–2000)
Troy Born – drums (1999–2001)
Chad Tafolla – bass (1999), rhythm guitar (1999–2001)
Vijay Kumar – bass (2000–2002)
Molly Street – keyboards (2000–2003)
Jona Weinhofen – lead guitar, backing vocals (2007–2009, 2014)
Dave Nassie – rhythm guitar (2014), lead guitar (2009–2014)
Live musicians
Mick Morris – bass
Rocky Gray – drums
Dave Peters – lead and rhythm guitar
Patrick Judge – lead and rhythm guitar
Manny Contreras – rhythm and lead guitar
Mick Kenney – lead guitar
Mark Garza – drums
Justin Bock - bass guitar
Brandon Richter – lead guitar, backing vocals (2019)
Robert Bloomfield – bass (2019)
Timeline
Discography
Studio albums
DVDs
This Is Live, This Is Murderous (June 15, 2004, Kung Fu Records)
Wolves Among Sheep (November 15, 2005, Trustkill Records)
Appearance on compilations
MTV2 Headbangers Ball: The Revenge – "Kill to Believe"
The Best of Taste of Chaos – "On Wings of Lead"
The Best of Taste of Chaos Two. – "Love in Slow Motion"
Bring You to Your Knees: A Tribute to Guns N' Roses – "Rocket Queen"
Threat: Music That Inspired the Movie – "Number Seven with a Bullet"
Threat: Original Motion Picture Soundtrack (Soundtrack) – "Number Seven with a Bullet"
AMP Magazine Presents: Volume 1: Hardcore
Blood, Sweat & Ten Years – "On Wings of Lead" and "Love Lost in a Hale of Gunfire"
MTV2 Headbangers Ball, Vol. 2 – "Love Lost in a Hail of Gunfire" (censored)
Fighting Music 2
Our Impact Will Be Felt: A Tribute to Sick of It All – "We Want the Truth"
Trustkill Takeover, Vol. II – "One Last Second"
2005 Warped Tour Compilation – "Love Lost in a Hail of Gunfire"
Punk Goes '90s – "Stars" – Hum cover
Black on Black: A Tribute to Black Flag – "My War"
Metal Hammer 204 – "Anti-Hero"
Music videos
References
External links
Official website
Bleeding Through: A Different Package: Shout! Music Webzine on April 1, 2007
What Bleeding Through Can Do For You: Follow-up Interview with Derek Youngsma
1999 establishments in California
American metalcore musical groups
American technical death metal musical groups
Musical groups disestablished in 2014
Musical groups established in 1999
Musical groups from Orange County, California
Musical quintets
Nuclear Blast artists
Rise Records artists
Straight edge groups
Trustkill Records artists
| true |
[
"The Last Tour is a world tour by the bachata group Aventura to promote their final studio album The Last before their split. The Last Tour started on July 31, 2009 and ended on March 7, 2011. It was their last tour as a group, until their 2016 residency and 2020 Inmortal Tour of US arenas.\n\nThe Last Tour was the band's most successful tour and the longest. It broke attendance records in Latin America, including 60,000 fans in Santo Domingo at Estadio Olímpico Félix Sánchez.\n\nIn the United States the tour was a success. In an article, Billboard stated that in the United States Aventura's 2009-10 shows averaged $675,000 and 9,358 tickets per show. In 2010, Billboard named it the top Latin tour of 2010 with a total gross of US$18.1 million over 27 shows with 15 sellouts and 253,777 attendance. The tour also broke the record of the most consecutive sold-out concerts in Madison Square Garden by a Latin artist.\n\nTour dates\n\nBox office data\n\nNotes\n\nReferences \n\nAventura (band)\n2009 concert tours\n2010 concert tours",
"The 2002 Buy.com Tour season ran from March 7 to November 2. The season consisted of 28 official money golf tournaments; three of which were played outside of the United States. The top 15 players on the year-end money list earned their PGA Tour card for 2003. It was the final year in which the tour was sponsored by Buy.com, before it was replaced by current sponsor Nationwide.\n\nSchedule\nThe number in parentheses after winners' names show the player's total number of wins on the tour including that event. No one accumulates many wins on the tour because success at this level soon leads to promotion to the PGA Tour.\n\nLeading money winners\n\nFull money list\n\nSee also\n2002 Buy.com Tour graduates\n\nExternal links\nAll information from here\n\nKorn Ferry Tour seasons\nBuy.com Tour"
] |
[
"The Mighty Boosh",
"History"
] |
C_f55c0ea8f72546abb00068f0cd55b7e5_1
|
What is notable about their history?
| 1 |
What is notable about The Mighty Boosh history?
|
The Mighty Boosh
|
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters - Howard Moon and Vince Noir, respectively - in a series of sketches for Paramount Comedy's Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo. Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child. The Boosh produced 3 stage shows - The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) - all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name. The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu". After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show. In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013. CANNOTANSWER
|
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club
|
The Mighty Boosh is a British comedy troupe featuring comedians Julian Barratt and Noel Fielding. Developed from three stage shows and a six-episode radio series, it has since spanned a total of 20 television episodes for BBC Three which aired from 2004 to 2007, and two live tours of the UK, as well as two live shows in the United States. The first television series is set in a zoo operated by Bob Fossil, the second in a flat and the third in a secondhand shop in Dalston called Nabootique.
Various members of The Mighty Boosh have appeared in a number of different comedy series including Nathan Barley, Snuff Box and Noel Fielding's Luxury Comedy, and regular Boosh collaborators included Richard Ayoade and Matt Berry. The troupe is named after a childhood hairstyle of co-star Michael Fielding.
History
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters – Howard Moon and Vince Noir, respectively – in a series of sketches for Paramount Comedy’s Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo.
Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child.
The Boosh produced 3 stage shows – The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) – all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name.
The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu".
After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show.
In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013.
On 1 January 2020, Fielding posted an image of himself and Barratt on Instagram with the caption, "There really wasn't enough Boosh this decade ! let's try and rectify that in the next one ;) x".
Main cast
Julian Barratt as Howard Moon
Noel Fielding as Vince Noir
Michael Fielding as Naboo
Dave Brown as Bollo
Rich Fulcher as Bob Fossil
The cast members also play smaller roles throughout the series, the roles listed above are their most frequently appearing characters. For a full list of characters, see the List of The Mighty Boosh characters.
Theatre
Original stage shows
The Mighty Boosh (1998)
The Boosh, then consisting of only Barratt and Fielding, conceived The Mighty Boosh whilst working on Stewart Lee's Edinburgh Festival show King Dong vs. Moby Dick in which they played a giant penis and a whale respectively.
In 1998, they took The Mighty Boosh to the Edinburgh Festival, recruiting fellow comedian Rich Fulcher, whom the pair had met while working on Unnatural Acts. The show won the Perrier Award for Best Newcomer. During their residency at North London's Hen and Chickens Theatre the following year, they built up a cult following, introducing new characters whilst developing old ones.
Arctic Boosh (1999)
In 1999, the Boosh returned to the Edinburgh Festival with a new show, Arctic Boosh, with Dave Brown acting as choreographer and photographer, as well as playing a variety of characters. Arctic Boosh sold out every night and was nominated for the Perrier Award. The show was directed by Stewart Lee.
Autoboosh (2000)
In 2000, the Boosh premiered their third stage show, Autoboosh, at the Melbourne International Comedy Festival, adding Fielding's younger brother Michael to the cast. Autoboosh won the festival's Barry Award.
Nationwide tours
The Mighty Boosh Live (2006)
The Boosh returned to the stage in 2006, touring the UK for the first time. Though drawing heavily from their earlier material, the main story combined these elements into a new narrative. A recording of this show at the Brixton Academy was later released on DVD, before being broadcast on BBC Three on Boxing Day, 2007.
The Mighty Boosh Live: Future Sailors Tour (2008/09)
The Boosh toured the UK and Ireland for a second time from September 2008 to February 2009. The show featured characters from all three series as well as the Boosh Band.
They made appearances throughout the UK after their live shows, at after-parties held in different places in each city. The events were called "Outrage", after the catchphrase by Tony Harrison.
Radio
The Boosh (2001)
From the success of Autoboosh, the BBC commissioned a six-part radio series for the Boosh. In October 2001 The Boosh radio series, produced by Danny Wallace, was broadcast on BBC London Live, then BBC Radio 4, and later on BBC 7. The show focuses on the adventures of a pair of zookeepers at "Bob Fossil's Funworld": socially awkward, jazz enthusiast Howard TJ Moon, and ultra-vain, fashion-obsessed Vince Noir. This also included voices from Lee Mack, playing such characters as the Plumber or the Gardener.
Further appearances
The Mighty Boosh returned to radio on 22 October 2004, in a one-off comedy special for The Breezeblock, a show on BBC Radio 1. Instead of the plot driven nature of their own series, this show featured improvised conversational comedy with Barratt, Fielding and Fulcher, combined with the show's usual mix of electronic music.
On 15 November 2007, as part of the publicity for the premier of their third series the same day, Julian Barratt and Noel Fielding returned to Radio 1, this time on Jo Whiley's Live Lounge.
On 9 April 2019, it was announced that The Mighty Boosh will be the UK ambassadors for the Record Store Day at 13 April 2019, a show on BBC Radio 1.
Television
The Mighty Boosh (2004–07)
In May 2004, after the success of a Boosh pilot, Steve Coogan's company, Baby Cow Productions, produced the first television series of The Mighty Boosh for BBC Three, before it moved to BBC Two in November that same year. Though each episode invariably starts and ends in Dixon Bainbridge's dilapidated zoo, the "Zooniverse", the characters of Vince and Howard often depart for other locations, such as the Arctic tundra and limbo.
A second series, shown in July 2005, saw Howard and Vince sharing Naboo's flat in Dalston with previously minor characters Naboo and his familiar, Bollo, a gorilla living at the "Zooniverse". This series had an even looser setting as the four characters leave the confines of the flat in every episode, travelling in their van to a variety of surrealistic environments, including Naboo's home planet "Xooberon".
Series three started in November 2007, still set in Dalston, but this time the foursome are selling 'Bits & Bobs' in their shop, the Nabootique. Their adventures and outings in this series focused more on the involvement of new characters (e.g. Sammy the Crab, or Lester Corncrake etc.) rather than just the two of them.
Although BBC America originally aired only series 1 in the U.S (all episodes in their entirety), The Mighty Boosh began airing in North America on Cartoon Network's Adult Swim block (with up to 6 minutes cut from each episode), starting 29 March 2009 with the third series. In February 2016 series 1 of The Mighty Boosh was made available to watch via the online service BBC iPlayer for six weeks; this included every episode minus the final episode of the first series 'Hitcher'.
The Mighty Boosh Night
On 22 March 2008, BBC Three broadcast a whole night of The Mighty Boosh from 9:05 pm, starting with a new documentary titled The Mighty Boosh: A Journey Through Time and Space, documenting the history of the Boosh from their first amateur performances to their then-upcoming 2008 tour. This was followed by six of Barratt and Fielding's favourite episodes from the three series: "Party", "The Power of the Crimp", "The Nightmare of Milky Joe", "The Priest and the Beast", "The Legend of Old Gregg", and "Tundra". The pair also appeared in live links throughout the night, in a similar style to the openings of Series 1 episodes. On 23 December 2008, BBC3 held a Merry Booshmas Party featuring the entire series 3 as well as a broadcast of The Mighty Boosh Live.
Film
On 8 February 2012, whilst sledging, Noel Fielding said that he and Barratt had discussed plans to make a Mighty Boosh film.
Festival
On 5 July 2008, the Boosh held their own festival in the Hop Farm in Kent. It featured musical acts, Robots in Disguise, The Charlatans, The Kills, Gary Numan, and The Mighty Boosh Band, as well as comedy acts Frankie Boyle and Ross Noble.
Media
Audio CDs
According to an official MySpace page for PieFace Records (the fictitious music label mentioned throughout the series), Barratt and Fielding are to release an album of music from the show, "along with extras, versions, remixes and rare unreleased stuff all to be released later in the year on their own label—this one". In interviews since, The Mighty Boosh have confirmed they will be releasing an album of their music. On 21 October 2013 episode of Never Mind the Buzzcocks, Fielding stated that the Boosh have recorded an album, but don't know when it will be released.
DVDs
Previously most of the DVDs were only released in Region 2 but as a result of a growing fan base in the U.S., the BBC rereleased in Region 1, Series 1–3 individually on 21 July 2009, and a Special Edition Series 1–3 Boxset on 13 October 2009.
Australian releases
Series One – 11 April 2007
Series Two – 12 April 2007
Series Three – 6 August 2008
Live – 3 December 2008
Special Edition – 6 August 2009
Future Sailors Tour – 10 November 2009
Series One: Episodes 1–3 (Comedy Bites) – 4 March 2010
Books
On 18 September 2008, Canongate Books published The Mighty Book of Boosh, designed and compiled by Dave Brown and written by Noel Fielding, Julian Barratt, Rich Fulcher, Dave Brown, Richard Ayoade and Michael Fielding. The book includes original stories, crimps, concept art, behind-the-scenes photography, comics, and various other things, featuring old and new Mighty Boosh characters. On 1 October 2009, a paperback version was released under the name The Pocket Book of Boosh.
Awards
Particularly popular among followers of the indie and electro music genres catered to by NME magazine, The Mighty Boosh has been recipient of the Shockwaves NME Awards Best TV Show for three consecutive years, even though there were no new episodes broadcast for the latter two of the three years.
References
External links
"The Mighty Boosh PBJ Page"
BBC Mighty Boosh Mighty Boosh at the BBC
UKTV Mighty Boosh Mighty Boosh at UKTV
British comedy troupes
British surrealist artists
Surrealist groups
Comedy collectives
Narcissism in fiction
| true |
[
"The States is a 2007 American documentary television series about the history of each state in the United States of America, narrated by Edward Herrmann.\n\nThe show documents each of the 50 states in the union. The show begins with an introduction to the five states to be documented within the episode. Each state's segment begins with the narrator giving a clue as to what that state might be, and then revealing the answer. ( e.g. \"There is a North Dakota and a South Dakota, a North Carolina and a South Carolina, but there's been one \"West\" anything! Welcome to West Virginia.\") There is then a billboard that pops up showing the state nickname, motto, population, population ranking within the union, date the state entered the union, and state flag. During interviews with historians or notable people from a state, the state's quarter is shown. Since the series was produced in 2007, Oklahoma, New Mexico, Arizona, Alaska, and Hawaii are shown with their flags. Those quarters were released in 2008\n\nThe show then highlights the history of the state itself, including notable events that have happened there, and highlights other noteworthy things in that state. In 2010 a sister presentation and then series, How the States Got Their Shapes was aired.\n\nEpisode list\n\nSee also\n List of programs broadcast by History (TV channel)\n History Channel\n\nReferences\n\nHistory (American TV channel) original programming",
"What We Do Is Secret may refer to:\n \"What We Do Is Secret\", a song by the Germs from the 1979 album (GI)\n What We Do Is Secret (EP), a 1981 EP by the Germs released after their breakup\n What We Do Is Secret (film), a 2007 biographical film about the Germs\n What We Do Is Secret (novel), a 2005 novel by Thorn Kief Hillsbery"
] |
[
"The Mighty Boosh",
"History",
"What is notable about their history?",
"Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club"
] |
C_f55c0ea8f72546abb00068f0cd55b7e5_1
|
What happened after this?
| 2 |
What happened after Hellfire Comedy club?
|
The Mighty Boosh
|
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters - Howard Moon and Vince Noir, respectively - in a series of sketches for Paramount Comedy's Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo. Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child. The Boosh produced 3 stage shows - The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) - all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name. The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu". After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show. In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013. CANNOTANSWER
|
The pair soon found that they shared comic interests, formed a double act,
|
The Mighty Boosh is a British comedy troupe featuring comedians Julian Barratt and Noel Fielding. Developed from three stage shows and a six-episode radio series, it has since spanned a total of 20 television episodes for BBC Three which aired from 2004 to 2007, and two live tours of the UK, as well as two live shows in the United States. The first television series is set in a zoo operated by Bob Fossil, the second in a flat and the third in a secondhand shop in Dalston called Nabootique.
Various members of The Mighty Boosh have appeared in a number of different comedy series including Nathan Barley, Snuff Box and Noel Fielding's Luxury Comedy, and regular Boosh collaborators included Richard Ayoade and Matt Berry. The troupe is named after a childhood hairstyle of co-star Michael Fielding.
History
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters – Howard Moon and Vince Noir, respectively – in a series of sketches for Paramount Comedy’s Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo.
Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child.
The Boosh produced 3 stage shows – The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) – all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name.
The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu".
After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show.
In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013.
On 1 January 2020, Fielding posted an image of himself and Barratt on Instagram with the caption, "There really wasn't enough Boosh this decade ! let's try and rectify that in the next one ;) x".
Main cast
Julian Barratt as Howard Moon
Noel Fielding as Vince Noir
Michael Fielding as Naboo
Dave Brown as Bollo
Rich Fulcher as Bob Fossil
The cast members also play smaller roles throughout the series, the roles listed above are their most frequently appearing characters. For a full list of characters, see the List of The Mighty Boosh characters.
Theatre
Original stage shows
The Mighty Boosh (1998)
The Boosh, then consisting of only Barratt and Fielding, conceived The Mighty Boosh whilst working on Stewart Lee's Edinburgh Festival show King Dong vs. Moby Dick in which they played a giant penis and a whale respectively.
In 1998, they took The Mighty Boosh to the Edinburgh Festival, recruiting fellow comedian Rich Fulcher, whom the pair had met while working on Unnatural Acts. The show won the Perrier Award for Best Newcomer. During their residency at North London's Hen and Chickens Theatre the following year, they built up a cult following, introducing new characters whilst developing old ones.
Arctic Boosh (1999)
In 1999, the Boosh returned to the Edinburgh Festival with a new show, Arctic Boosh, with Dave Brown acting as choreographer and photographer, as well as playing a variety of characters. Arctic Boosh sold out every night and was nominated for the Perrier Award. The show was directed by Stewart Lee.
Autoboosh (2000)
In 2000, the Boosh premiered their third stage show, Autoboosh, at the Melbourne International Comedy Festival, adding Fielding's younger brother Michael to the cast. Autoboosh won the festival's Barry Award.
Nationwide tours
The Mighty Boosh Live (2006)
The Boosh returned to the stage in 2006, touring the UK for the first time. Though drawing heavily from their earlier material, the main story combined these elements into a new narrative. A recording of this show at the Brixton Academy was later released on DVD, before being broadcast on BBC Three on Boxing Day, 2007.
The Mighty Boosh Live: Future Sailors Tour (2008/09)
The Boosh toured the UK and Ireland for a second time from September 2008 to February 2009. The show featured characters from all three series as well as the Boosh Band.
They made appearances throughout the UK after their live shows, at after-parties held in different places in each city. The events were called "Outrage", after the catchphrase by Tony Harrison.
Radio
The Boosh (2001)
From the success of Autoboosh, the BBC commissioned a six-part radio series for the Boosh. In October 2001 The Boosh radio series, produced by Danny Wallace, was broadcast on BBC London Live, then BBC Radio 4, and later on BBC 7. The show focuses on the adventures of a pair of zookeepers at "Bob Fossil's Funworld": socially awkward, jazz enthusiast Howard TJ Moon, and ultra-vain, fashion-obsessed Vince Noir. This also included voices from Lee Mack, playing such characters as the Plumber or the Gardener.
Further appearances
The Mighty Boosh returned to radio on 22 October 2004, in a one-off comedy special for The Breezeblock, a show on BBC Radio 1. Instead of the plot driven nature of their own series, this show featured improvised conversational comedy with Barratt, Fielding and Fulcher, combined with the show's usual mix of electronic music.
On 15 November 2007, as part of the publicity for the premier of their third series the same day, Julian Barratt and Noel Fielding returned to Radio 1, this time on Jo Whiley's Live Lounge.
On 9 April 2019, it was announced that The Mighty Boosh will be the UK ambassadors for the Record Store Day at 13 April 2019, a show on BBC Radio 1.
Television
The Mighty Boosh (2004–07)
In May 2004, after the success of a Boosh pilot, Steve Coogan's company, Baby Cow Productions, produced the first television series of The Mighty Boosh for BBC Three, before it moved to BBC Two in November that same year. Though each episode invariably starts and ends in Dixon Bainbridge's dilapidated zoo, the "Zooniverse", the characters of Vince and Howard often depart for other locations, such as the Arctic tundra and limbo.
A second series, shown in July 2005, saw Howard and Vince sharing Naboo's flat in Dalston with previously minor characters Naboo and his familiar, Bollo, a gorilla living at the "Zooniverse". This series had an even looser setting as the four characters leave the confines of the flat in every episode, travelling in their van to a variety of surrealistic environments, including Naboo's home planet "Xooberon".
Series three started in November 2007, still set in Dalston, but this time the foursome are selling 'Bits & Bobs' in their shop, the Nabootique. Their adventures and outings in this series focused more on the involvement of new characters (e.g. Sammy the Crab, or Lester Corncrake etc.) rather than just the two of them.
Although BBC America originally aired only series 1 in the U.S (all episodes in their entirety), The Mighty Boosh began airing in North America on Cartoon Network's Adult Swim block (with up to 6 minutes cut from each episode), starting 29 March 2009 with the third series. In February 2016 series 1 of The Mighty Boosh was made available to watch via the online service BBC iPlayer for six weeks; this included every episode minus the final episode of the first series 'Hitcher'.
The Mighty Boosh Night
On 22 March 2008, BBC Three broadcast a whole night of The Mighty Boosh from 9:05 pm, starting with a new documentary titled The Mighty Boosh: A Journey Through Time and Space, documenting the history of the Boosh from their first amateur performances to their then-upcoming 2008 tour. This was followed by six of Barratt and Fielding's favourite episodes from the three series: "Party", "The Power of the Crimp", "The Nightmare of Milky Joe", "The Priest and the Beast", "The Legend of Old Gregg", and "Tundra". The pair also appeared in live links throughout the night, in a similar style to the openings of Series 1 episodes. On 23 December 2008, BBC3 held a Merry Booshmas Party featuring the entire series 3 as well as a broadcast of The Mighty Boosh Live.
Film
On 8 February 2012, whilst sledging, Noel Fielding said that he and Barratt had discussed plans to make a Mighty Boosh film.
Festival
On 5 July 2008, the Boosh held their own festival in the Hop Farm in Kent. It featured musical acts, Robots in Disguise, The Charlatans, The Kills, Gary Numan, and The Mighty Boosh Band, as well as comedy acts Frankie Boyle and Ross Noble.
Media
Audio CDs
According to an official MySpace page for PieFace Records (the fictitious music label mentioned throughout the series), Barratt and Fielding are to release an album of music from the show, "along with extras, versions, remixes and rare unreleased stuff all to be released later in the year on their own label—this one". In interviews since, The Mighty Boosh have confirmed they will be releasing an album of their music. On 21 October 2013 episode of Never Mind the Buzzcocks, Fielding stated that the Boosh have recorded an album, but don't know when it will be released.
DVDs
Previously most of the DVDs were only released in Region 2 but as a result of a growing fan base in the U.S., the BBC rereleased in Region 1, Series 1–3 individually on 21 July 2009, and a Special Edition Series 1–3 Boxset on 13 October 2009.
Australian releases
Series One – 11 April 2007
Series Two – 12 April 2007
Series Three – 6 August 2008
Live – 3 December 2008
Special Edition – 6 August 2009
Future Sailors Tour – 10 November 2009
Series One: Episodes 1–3 (Comedy Bites) – 4 March 2010
Books
On 18 September 2008, Canongate Books published The Mighty Book of Boosh, designed and compiled by Dave Brown and written by Noel Fielding, Julian Barratt, Rich Fulcher, Dave Brown, Richard Ayoade and Michael Fielding. The book includes original stories, crimps, concept art, behind-the-scenes photography, comics, and various other things, featuring old and new Mighty Boosh characters. On 1 October 2009, a paperback version was released under the name The Pocket Book of Boosh.
Awards
Particularly popular among followers of the indie and electro music genres catered to by NME magazine, The Mighty Boosh has been recipient of the Shockwaves NME Awards Best TV Show for three consecutive years, even though there were no new episodes broadcast for the latter two of the three years.
References
External links
"The Mighty Boosh PBJ Page"
BBC Mighty Boosh Mighty Boosh at the BBC
UKTV Mighty Boosh Mighty Boosh at UKTV
British comedy troupes
British surrealist artists
Surrealist groups
Comedy collectives
Narcissism in fiction
| 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 Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy"
] |
[
"The Mighty Boosh",
"History",
"What is notable about their history?",
"Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club",
"What happened after this?",
"The pair soon found that they shared comic interests, formed a double act,"
] |
C_f55c0ea8f72546abb00068f0cd55b7e5_1
|
What did they do after this?
| 3 |
What did Fielding and Barratt do after their double act?
|
The Mighty Boosh
|
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters - Howard Moon and Vince Noir, respectively - in a series of sketches for Paramount Comedy's Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo. Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child. The Boosh produced 3 stage shows - The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) - all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name. The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu". After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show. In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013. CANNOTANSWER
|
After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters -
|
The Mighty Boosh is a British comedy troupe featuring comedians Julian Barratt and Noel Fielding. Developed from three stage shows and a six-episode radio series, it has since spanned a total of 20 television episodes for BBC Three which aired from 2004 to 2007, and two live tours of the UK, as well as two live shows in the United States. The first television series is set in a zoo operated by Bob Fossil, the second in a flat and the third in a secondhand shop in Dalston called Nabootique.
Various members of The Mighty Boosh have appeared in a number of different comedy series including Nathan Barley, Snuff Box and Noel Fielding's Luxury Comedy, and regular Boosh collaborators included Richard Ayoade and Matt Berry. The troupe is named after a childhood hairstyle of co-star Michael Fielding.
History
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters – Howard Moon and Vince Noir, respectively – in a series of sketches for Paramount Comedy’s Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo.
Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child.
The Boosh produced 3 stage shows – The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) – all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name.
The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu".
After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show.
In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013.
On 1 January 2020, Fielding posted an image of himself and Barratt on Instagram with the caption, "There really wasn't enough Boosh this decade ! let's try and rectify that in the next one ;) x".
Main cast
Julian Barratt as Howard Moon
Noel Fielding as Vince Noir
Michael Fielding as Naboo
Dave Brown as Bollo
Rich Fulcher as Bob Fossil
The cast members also play smaller roles throughout the series, the roles listed above are their most frequently appearing characters. For a full list of characters, see the List of The Mighty Boosh characters.
Theatre
Original stage shows
The Mighty Boosh (1998)
The Boosh, then consisting of only Barratt and Fielding, conceived The Mighty Boosh whilst working on Stewart Lee's Edinburgh Festival show King Dong vs. Moby Dick in which they played a giant penis and a whale respectively.
In 1998, they took The Mighty Boosh to the Edinburgh Festival, recruiting fellow comedian Rich Fulcher, whom the pair had met while working on Unnatural Acts. The show won the Perrier Award for Best Newcomer. During their residency at North London's Hen and Chickens Theatre the following year, they built up a cult following, introducing new characters whilst developing old ones.
Arctic Boosh (1999)
In 1999, the Boosh returned to the Edinburgh Festival with a new show, Arctic Boosh, with Dave Brown acting as choreographer and photographer, as well as playing a variety of characters. Arctic Boosh sold out every night and was nominated for the Perrier Award. The show was directed by Stewart Lee.
Autoboosh (2000)
In 2000, the Boosh premiered their third stage show, Autoboosh, at the Melbourne International Comedy Festival, adding Fielding's younger brother Michael to the cast. Autoboosh won the festival's Barry Award.
Nationwide tours
The Mighty Boosh Live (2006)
The Boosh returned to the stage in 2006, touring the UK for the first time. Though drawing heavily from their earlier material, the main story combined these elements into a new narrative. A recording of this show at the Brixton Academy was later released on DVD, before being broadcast on BBC Three on Boxing Day, 2007.
The Mighty Boosh Live: Future Sailors Tour (2008/09)
The Boosh toured the UK and Ireland for a second time from September 2008 to February 2009. The show featured characters from all three series as well as the Boosh Band.
They made appearances throughout the UK after their live shows, at after-parties held in different places in each city. The events were called "Outrage", after the catchphrase by Tony Harrison.
Radio
The Boosh (2001)
From the success of Autoboosh, the BBC commissioned a six-part radio series for the Boosh. In October 2001 The Boosh radio series, produced by Danny Wallace, was broadcast on BBC London Live, then BBC Radio 4, and later on BBC 7. The show focuses on the adventures of a pair of zookeepers at "Bob Fossil's Funworld": socially awkward, jazz enthusiast Howard TJ Moon, and ultra-vain, fashion-obsessed Vince Noir. This also included voices from Lee Mack, playing such characters as the Plumber or the Gardener.
Further appearances
The Mighty Boosh returned to radio on 22 October 2004, in a one-off comedy special for The Breezeblock, a show on BBC Radio 1. Instead of the plot driven nature of their own series, this show featured improvised conversational comedy with Barratt, Fielding and Fulcher, combined with the show's usual mix of electronic music.
On 15 November 2007, as part of the publicity for the premier of their third series the same day, Julian Barratt and Noel Fielding returned to Radio 1, this time on Jo Whiley's Live Lounge.
On 9 April 2019, it was announced that The Mighty Boosh will be the UK ambassadors for the Record Store Day at 13 April 2019, a show on BBC Radio 1.
Television
The Mighty Boosh (2004–07)
In May 2004, after the success of a Boosh pilot, Steve Coogan's company, Baby Cow Productions, produced the first television series of The Mighty Boosh for BBC Three, before it moved to BBC Two in November that same year. Though each episode invariably starts and ends in Dixon Bainbridge's dilapidated zoo, the "Zooniverse", the characters of Vince and Howard often depart for other locations, such as the Arctic tundra and limbo.
A second series, shown in July 2005, saw Howard and Vince sharing Naboo's flat in Dalston with previously minor characters Naboo and his familiar, Bollo, a gorilla living at the "Zooniverse". This series had an even looser setting as the four characters leave the confines of the flat in every episode, travelling in their van to a variety of surrealistic environments, including Naboo's home planet "Xooberon".
Series three started in November 2007, still set in Dalston, but this time the foursome are selling 'Bits & Bobs' in their shop, the Nabootique. Their adventures and outings in this series focused more on the involvement of new characters (e.g. Sammy the Crab, or Lester Corncrake etc.) rather than just the two of them.
Although BBC America originally aired only series 1 in the U.S (all episodes in their entirety), The Mighty Boosh began airing in North America on Cartoon Network's Adult Swim block (with up to 6 minutes cut from each episode), starting 29 March 2009 with the third series. In February 2016 series 1 of The Mighty Boosh was made available to watch via the online service BBC iPlayer for six weeks; this included every episode minus the final episode of the first series 'Hitcher'.
The Mighty Boosh Night
On 22 March 2008, BBC Three broadcast a whole night of The Mighty Boosh from 9:05 pm, starting with a new documentary titled The Mighty Boosh: A Journey Through Time and Space, documenting the history of the Boosh from their first amateur performances to their then-upcoming 2008 tour. This was followed by six of Barratt and Fielding's favourite episodes from the three series: "Party", "The Power of the Crimp", "The Nightmare of Milky Joe", "The Priest and the Beast", "The Legend of Old Gregg", and "Tundra". The pair also appeared in live links throughout the night, in a similar style to the openings of Series 1 episodes. On 23 December 2008, BBC3 held a Merry Booshmas Party featuring the entire series 3 as well as a broadcast of The Mighty Boosh Live.
Film
On 8 February 2012, whilst sledging, Noel Fielding said that he and Barratt had discussed plans to make a Mighty Boosh film.
Festival
On 5 July 2008, the Boosh held their own festival in the Hop Farm in Kent. It featured musical acts, Robots in Disguise, The Charlatans, The Kills, Gary Numan, and The Mighty Boosh Band, as well as comedy acts Frankie Boyle and Ross Noble.
Media
Audio CDs
According to an official MySpace page for PieFace Records (the fictitious music label mentioned throughout the series), Barratt and Fielding are to release an album of music from the show, "along with extras, versions, remixes and rare unreleased stuff all to be released later in the year on their own label—this one". In interviews since, The Mighty Boosh have confirmed they will be releasing an album of their music. On 21 October 2013 episode of Never Mind the Buzzcocks, Fielding stated that the Boosh have recorded an album, but don't know when it will be released.
DVDs
Previously most of the DVDs were only released in Region 2 but as a result of a growing fan base in the U.S., the BBC rereleased in Region 1, Series 1–3 individually on 21 July 2009, and a Special Edition Series 1–3 Boxset on 13 October 2009.
Australian releases
Series One – 11 April 2007
Series Two – 12 April 2007
Series Three – 6 August 2008
Live – 3 December 2008
Special Edition – 6 August 2009
Future Sailors Tour – 10 November 2009
Series One: Episodes 1–3 (Comedy Bites) – 4 March 2010
Books
On 18 September 2008, Canongate Books published The Mighty Book of Boosh, designed and compiled by Dave Brown and written by Noel Fielding, Julian Barratt, Rich Fulcher, Dave Brown, Richard Ayoade and Michael Fielding. The book includes original stories, crimps, concept art, behind-the-scenes photography, comics, and various other things, featuring old and new Mighty Boosh characters. On 1 October 2009, a paperback version was released under the name The Pocket Book of Boosh.
Awards
Particularly popular among followers of the indie and electro music genres catered to by NME magazine, The Mighty Boosh has been recipient of the Shockwaves NME Awards Best TV Show for three consecutive years, even though there were no new episodes broadcast for the latter two of the three years.
References
External links
"The Mighty Boosh PBJ Page"
BBC Mighty Boosh Mighty Boosh at the BBC
UKTV Mighty Boosh Mighty Boosh at UKTV
British comedy troupes
British surrealist artists
Surrealist groups
Comedy collectives
Narcissism in fiction
| false |
[
"The situation, task, action, result (STAR) format is a technique used by interviewers to gather all the relevant information about a specific capability that the job requires. \n\n Situation: The interviewer wants you to present a recent challenging situation in which you found yourself.\n Task: What were you required to achieve? The interviewer will be looking to see what you were trying to achieve from the situation. Some performance development methods use “Target” rather than “Task”. Job interview candidates who describe a “Target” they set themselves instead of an externally imposed “Task” emphasize their own intrinsic motivation to perform and to develop their performance.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what the alternatives were.\n Results: What was the outcome of your actions? What did you achieve through your actions? Did you meet your objectives? What did you learn from this experience? Have you used this learning since?\n\nThe STAR technique is similar to the SOARA technique.\n\nThe STAR technique is also often complemented with an additional R on the end STARR or STAR(R) with the last R resembling reflection. This R aims to gather insight and interviewee's ability to learn and iterate. Whereas the STAR reveals how and what kind of result on an objective was achieved, the STARR with the additional R helps the interviewer to understand what the interviewee learned from the experience and how they would assimilate experiences. The interviewee can define what they would do (differently, the same, or better) next time being posed with a situation.\n\nReferences\n\nExternal links\nThe ‘STAR’ technique to answer behavioral interview questions\nThe STAR method explained\n\nJob interview",
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)"
] |
[
"The Mighty Boosh",
"History",
"What is notable about their history?",
"Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club",
"What happened after this?",
"The pair soon found that they shared comic interests, formed a double act,",
"What did they do after this?",
"After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters -"
] |
C_f55c0ea8f72546abb00068f0cd55b7e5_1
|
What were their characters?
| 4 |
What were Fielding and Barrats characters?
|
The Mighty Boosh
|
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters - Howard Moon and Vince Noir, respectively - in a series of sketches for Paramount Comedy's Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo. Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child. The Boosh produced 3 stage shows - The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) - all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name. The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu". After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show. In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013. CANNOTANSWER
|
Howard Moon and Vince Noir, respectively -
|
The Mighty Boosh is a British comedy troupe featuring comedians Julian Barratt and Noel Fielding. Developed from three stage shows and a six-episode radio series, it has since spanned a total of 20 television episodes for BBC Three which aired from 2004 to 2007, and two live tours of the UK, as well as two live shows in the United States. The first television series is set in a zoo operated by Bob Fossil, the second in a flat and the third in a secondhand shop in Dalston called Nabootique.
Various members of The Mighty Boosh have appeared in a number of different comedy series including Nathan Barley, Snuff Box and Noel Fielding's Luxury Comedy, and regular Boosh collaborators included Richard Ayoade and Matt Berry. The troupe is named after a childhood hairstyle of co-star Michael Fielding.
History
Fielding first met Barratt after seeing him perform his solo stand-up routine at the Hellfire Comedy Club in the Wycombe Swan Theatre, in High Wycombe, Buckinghamshire. The pair soon found that they shared comic interests, formed a double act, and "decided to be the new Goodies". After their first performance together at a bar, De Hems, in London in April 1998, Barratt and Fielding developed their zookeeper characters – Howard Moon and Vince Noir, respectively – in a series of sketches for Paramount Comedy’s Unnatural Acts. Here they also met American Rich Fulcher, who became Bob Fossil. Fielding's friend Dave Brown and Fielding's brother Michael also became regular collaborators. Richard Ayoade was another original cast member, playing adventurer Dixon Bainbridge, but Matt Berry replaced him in the first television series, since Ayoade was under contract with Channel 4. Ayoade returned in the second and third series as a belligerent shaman named Saboo.
Noel Fielding and Michael Fielding have each separately stated that the name "Mighty Boosh" was originally a phrase used by a friend of Michael's to describe the hair that Michael had as a child.
The Boosh produced 3 stage shows – The Mighty Boosh (1998), Arctic Boosh (1999) and Autoboosh (2000) – all of which were taken to the Edinburgh Fringe. With the success of Autoboosh, a radio series was commissioned by the BBC. Produced by Danny Wallace, The Boosh was first broadcast in 2001 on BBC London Live, later transferring to BBC Radio 4, from which the team were given a half-hour television pilot of the same name.
The first 8-part series, directed by Paul King, was then commissioned for BBC Three and broadcast in 2004, with a second of 6 episodes the next year. The second series moved away from the zoo setting to show Howard, Vince, Naboo the shaman and Bollo the talking ape living in a flat in Dalston. In 2006, the Boosh returned to theatre with The Mighty Boosh Live, which featured a new story entitled "The Ruby of Kukundu".
After two years away from television, the Boosh returned in November 2007. Set in Naboo's second-hand shop below the flat, the third series drew approximately 1 million viewers with its first episode, and in light of its success, BBC Three broadcast an entire night of The Mighty Boosh on 22 March 2008, which included a new documentary and 6 of Barratt and Fielding's favourite episodes from all 3 series. J. G. Quintel has said that The Mighty Boosh was a large influence on his animated series Regular Show.
In June 2013, it was confirmed that The Mighty Boosh would reunite for a US festival called Festival Supreme in October 2013.
On 1 January 2020, Fielding posted an image of himself and Barratt on Instagram with the caption, "There really wasn't enough Boosh this decade ! let's try and rectify that in the next one ;) x".
Main cast
Julian Barratt as Howard Moon
Noel Fielding as Vince Noir
Michael Fielding as Naboo
Dave Brown as Bollo
Rich Fulcher as Bob Fossil
The cast members also play smaller roles throughout the series, the roles listed above are their most frequently appearing characters. For a full list of characters, see the List of The Mighty Boosh characters.
Theatre
Original stage shows
The Mighty Boosh (1998)
The Boosh, then consisting of only Barratt and Fielding, conceived The Mighty Boosh whilst working on Stewart Lee's Edinburgh Festival show King Dong vs. Moby Dick in which they played a giant penis and a whale respectively.
In 1998, they took The Mighty Boosh to the Edinburgh Festival, recruiting fellow comedian Rich Fulcher, whom the pair had met while working on Unnatural Acts. The show won the Perrier Award for Best Newcomer. During their residency at North London's Hen and Chickens Theatre the following year, they built up a cult following, introducing new characters whilst developing old ones.
Arctic Boosh (1999)
In 1999, the Boosh returned to the Edinburgh Festival with a new show, Arctic Boosh, with Dave Brown acting as choreographer and photographer, as well as playing a variety of characters. Arctic Boosh sold out every night and was nominated for the Perrier Award. The show was directed by Stewart Lee.
Autoboosh (2000)
In 2000, the Boosh premiered their third stage show, Autoboosh, at the Melbourne International Comedy Festival, adding Fielding's younger brother Michael to the cast. Autoboosh won the festival's Barry Award.
Nationwide tours
The Mighty Boosh Live (2006)
The Boosh returned to the stage in 2006, touring the UK for the first time. Though drawing heavily from their earlier material, the main story combined these elements into a new narrative. A recording of this show at the Brixton Academy was later released on DVD, before being broadcast on BBC Three on Boxing Day, 2007.
The Mighty Boosh Live: Future Sailors Tour (2008/09)
The Boosh toured the UK and Ireland for a second time from September 2008 to February 2009. The show featured characters from all three series as well as the Boosh Band.
They made appearances throughout the UK after their live shows, at after-parties held in different places in each city. The events were called "Outrage", after the catchphrase by Tony Harrison.
Radio
The Boosh (2001)
From the success of Autoboosh, the BBC commissioned a six-part radio series for the Boosh. In October 2001 The Boosh radio series, produced by Danny Wallace, was broadcast on BBC London Live, then BBC Radio 4, and later on BBC 7. The show focuses on the adventures of a pair of zookeepers at "Bob Fossil's Funworld": socially awkward, jazz enthusiast Howard TJ Moon, and ultra-vain, fashion-obsessed Vince Noir. This also included voices from Lee Mack, playing such characters as the Plumber or the Gardener.
Further appearances
The Mighty Boosh returned to radio on 22 October 2004, in a one-off comedy special for The Breezeblock, a show on BBC Radio 1. Instead of the plot driven nature of their own series, this show featured improvised conversational comedy with Barratt, Fielding and Fulcher, combined with the show's usual mix of electronic music.
On 15 November 2007, as part of the publicity for the premier of their third series the same day, Julian Barratt and Noel Fielding returned to Radio 1, this time on Jo Whiley's Live Lounge.
On 9 April 2019, it was announced that The Mighty Boosh will be the UK ambassadors for the Record Store Day at 13 April 2019, a show on BBC Radio 1.
Television
The Mighty Boosh (2004–07)
In May 2004, after the success of a Boosh pilot, Steve Coogan's company, Baby Cow Productions, produced the first television series of The Mighty Boosh for BBC Three, before it moved to BBC Two in November that same year. Though each episode invariably starts and ends in Dixon Bainbridge's dilapidated zoo, the "Zooniverse", the characters of Vince and Howard often depart for other locations, such as the Arctic tundra and limbo.
A second series, shown in July 2005, saw Howard and Vince sharing Naboo's flat in Dalston with previously minor characters Naboo and his familiar, Bollo, a gorilla living at the "Zooniverse". This series had an even looser setting as the four characters leave the confines of the flat in every episode, travelling in their van to a variety of surrealistic environments, including Naboo's home planet "Xooberon".
Series three started in November 2007, still set in Dalston, but this time the foursome are selling 'Bits & Bobs' in their shop, the Nabootique. Their adventures and outings in this series focused more on the involvement of new characters (e.g. Sammy the Crab, or Lester Corncrake etc.) rather than just the two of them.
Although BBC America originally aired only series 1 in the U.S (all episodes in their entirety), The Mighty Boosh began airing in North America on Cartoon Network's Adult Swim block (with up to 6 minutes cut from each episode), starting 29 March 2009 with the third series. In February 2016 series 1 of The Mighty Boosh was made available to watch via the online service BBC iPlayer for six weeks; this included every episode minus the final episode of the first series 'Hitcher'.
The Mighty Boosh Night
On 22 March 2008, BBC Three broadcast a whole night of The Mighty Boosh from 9:05 pm, starting with a new documentary titled The Mighty Boosh: A Journey Through Time and Space, documenting the history of the Boosh from their first amateur performances to their then-upcoming 2008 tour. This was followed by six of Barratt and Fielding's favourite episodes from the three series: "Party", "The Power of the Crimp", "The Nightmare of Milky Joe", "The Priest and the Beast", "The Legend of Old Gregg", and "Tundra". The pair also appeared in live links throughout the night, in a similar style to the openings of Series 1 episodes. On 23 December 2008, BBC3 held a Merry Booshmas Party featuring the entire series 3 as well as a broadcast of The Mighty Boosh Live.
Film
On 8 February 2012, whilst sledging, Noel Fielding said that he and Barratt had discussed plans to make a Mighty Boosh film.
Festival
On 5 July 2008, the Boosh held their own festival in the Hop Farm in Kent. It featured musical acts, Robots in Disguise, The Charlatans, The Kills, Gary Numan, and The Mighty Boosh Band, as well as comedy acts Frankie Boyle and Ross Noble.
Media
Audio CDs
According to an official MySpace page for PieFace Records (the fictitious music label mentioned throughout the series), Barratt and Fielding are to release an album of music from the show, "along with extras, versions, remixes and rare unreleased stuff all to be released later in the year on their own label—this one". In interviews since, The Mighty Boosh have confirmed they will be releasing an album of their music. On 21 October 2013 episode of Never Mind the Buzzcocks, Fielding stated that the Boosh have recorded an album, but don't know when it will be released.
DVDs
Previously most of the DVDs were only released in Region 2 but as a result of a growing fan base in the U.S., the BBC rereleased in Region 1, Series 1–3 individually on 21 July 2009, and a Special Edition Series 1–3 Boxset on 13 October 2009.
Australian releases
Series One – 11 April 2007
Series Two – 12 April 2007
Series Three – 6 August 2008
Live – 3 December 2008
Special Edition – 6 August 2009
Future Sailors Tour – 10 November 2009
Series One: Episodes 1–3 (Comedy Bites) – 4 March 2010
Books
On 18 September 2008, Canongate Books published The Mighty Book of Boosh, designed and compiled by Dave Brown and written by Noel Fielding, Julian Barratt, Rich Fulcher, Dave Brown, Richard Ayoade and Michael Fielding. The book includes original stories, crimps, concept art, behind-the-scenes photography, comics, and various other things, featuring old and new Mighty Boosh characters. On 1 October 2009, a paperback version was released under the name The Pocket Book of Boosh.
Awards
Particularly popular among followers of the indie and electro music genres catered to by NME magazine, The Mighty Boosh has been recipient of the Shockwaves NME Awards Best TV Show for three consecutive years, even though there were no new episodes broadcast for the latter two of the three years.
References
External links
"The Mighty Boosh PBJ Page"
BBC Mighty Boosh Mighty Boosh at the BBC
UKTV Mighty Boosh Mighty Boosh at UKTV
British comedy troupes
British surrealist artists
Surrealist groups
Comedy collectives
Narcissism in fiction
| false |
[
"The Tangut script (Tangut: ; ) was a logographic writing system, used for writing the extinct Tangut language of the Western Xia dynasty. According to the latest count, 5863 Tangut characters are known, excluding variants. The Tangut characters are similar in appearance to Chinese characters, with the same type of strokes, but the methods of forming characters in the Tangut writing system are significantly different from those of forming Chinese characters. As in Chinese calligraphy, regular, running, cursive and seal scripts were used in Tangut writing.\n\nHistory\nAccording to the History of Song (1346), the script was designed by the high-ranking official Yeli Renrong in 1036. The script was invented in a short period of time, and was put into use quickly. Government schools were founded to teach the script. Official documents were written in the script (with diplomatic ones written bilingually). A great number of Buddhist scriptures were translated from Tibetan and Chinese, and block printed in the script. Although the dynasty collapsed in 1227, the script continued to be used for another few centuries. The last known example of the script occurs on a pair of Tangut dharani pillars found at Baoding in present-day Hebei province, which were erected in 1502.\n\nStructure\n\nTangut characters can be divided into two classes: simple and composite. The latter are much more numerous. The simple characters can be either semantic or phonetic. None of the Tangut characters are pictographic, while the Chinese characters were at the time of their creation; this is one of the major differences between Tangut and Chinese characters.\n\nMost composite characters comprise two components. A few comprise three or four. A component can be a simple character, or part of a composite character. The composite characters include semantic-semantic ones and semantic-phonetic ones. A few special composite characters were made for transliterating Chinese and Sanskrit.\n\nThere are a number of pairs of special composite characters worth noting. The members of such a pair have the same components, only the location of the components in them is different (e.g. AB vs. BA, ABC vs. ACB). The members of such a pair have very similar meanings.\n\nThe Sea of Characters (), a 12th century monolingual Tangut rhyming dictionary, analyzes what other characters each character is derived from. Its analyses illustrate another difference between Tangut and Chinese characters. In Chinese, typically, each semantic component has its own meaning, and each phonetic component its own sound; they contribute this meaning or sound to any complex character they appear in. By contrast, in the Sea of Characters analysis of Tangut, a component contributes the meaning or sound of some other character that contains it, potentially a different one in every appearance. For example, the component can have the meaning of \"bird\" ( *dźjwow, of which it is the left side), as in *dze \"wild goose\" = *dźjwow \"bird\" + *dze \"longevity\". But the same component is also used to convey meanings of bone, smoke, food, and time, among others.\n\nSome components take different shape depending on what part of the character they appear in (e.g., left side, right side, middle, bottom).\n\nReconstruction\n\nUnicode\n\n6,125 characters of the Tangut script were included in Unicode version 9.0 in June 2016 in the Tangut block. 755 Radicals and components used in the modern study of Tangut were added to the Tangut Components block. An iteration mark, , was included in the Ideographic Symbols and Punctuation block. Five additional characters were added in June 2018 with the release of Unicode version 11.0. Six additional characters were added in March 2019 with the release of Unicode version 12.0. A further nine Tangut ideographs were added to the Tangut Supplement block and 13 Tangut components were added to the Tangut Components block in March 2020 with the release of Unicode version 13.0. The Tangut Supplement block size was changed in Unicode version 14.0 to correct the erroneous block end point (version 13: → version 14.0: ).\n\nSee also\n\nReferences\n\nSources\n\nExternal links \n\nTangut script at Omniglot\nTangut script, by Andrew West\n Sample Tangut characters at Mojikyo\n \n\nTangut index\n\n \nTanguts\nObsolete writing systems\n1036 introductions",
"Dick Ballantine is a fictional character played by actor and comic Richard Belzer on segments of The National Lampoon Radio Hour, aired on some 600 U.S. radio stations between 1973 and 1975. The character is an ersatz radio call-in host. \n\nHis callers, played by other Radio Hour regulars including Bill Murray, were subject to Ballantine's tart-tongued responses to their predictably obtuse opinions, typically capped by his addressing them sarcastically as \"Babe\". In one exchange, Murray's call-in character expresses irritation that inmates of a New York State maximum security hotel, recently the scene of the Attica Prison riots, are being given connubial visiting privileges which he disagrees with. Belzer's character inquires if the caller knows what the phrase \"boned up the ass\" means. When Murray admits that he does not, Belzer pithily suggests that he has no idea what he is complaining about. \n\nIn another exchange, Christopher Guest, playing a man with a clipped British RP accent, tells Ballantine that he has wrongfully accused a hired servant of stealing some personal property and asks if there some way he can contact him to apologize. The caller describes the wronged individual as \"a colored man\" to which Ballantine pointedly asks \"What color is he?\" \n\nSeveral of these radio bits were released on National Lampoon records in the mid and late 1970s, including That's Not Funny, That's Sick and The White Album.\n\nMale characters in radio\nFictional radio personalities\nComedy radio characters\nNational Lampoon (franchise)\nRadio characters introduced in 1973"
] |
[
"Thomas Eakins",
"Early career"
] |
C_c28379c527ad4962b737f7781e7a2601_1
|
When did Thomas Eakin's early career start?
| 1 |
When did Thomas Eakin's early career start?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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1871;
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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"Robert Eakin (March 15, 1848 – October 1, 1917) was an American judge and attorney in the state of Oregon. He served as the 19th Chief Justice on the Oregon Supreme Court. Eakin was the head judge of the court from 1911 to 1913, and was on the court overall from 1907 until 1917.\n\nEarly life\nEakin was born on March 15, 1848, in Kane County, Illinois. His parents, Stewart Bates Eakin and Catherine McEldowney Eakin, traveled the Oregon Trail to Oregon in 1866 along with his brother James A. Eakin. The family set down roots in the Eugene, Oregon area of the state. Robert Eakin attended Willamette University in Salem, Oregon, where he graduated in 1873. He then studied law in Eugene, and passed the bar in 1874.\n\nLegal career\nFollowing his acceptance to the state bar, he entered private practice in Eastern Oregon in Union County. There he practiced from 1875 until 1895 when he became a judge for the state circuit court’s 10th Judicial District. He served on that court until 1907.\n\nIn the fall of 1906 Eakin was elected to the Oregon Supreme Court to fill the position of Thomas G. Hailey, whose term expired in January 1907. Eakin won re-election to a second six-year term in 1912. Justice Eakin then served as chief justice of the state’s highest court from 1911 to 1913, and then resigned on January 8, 1917 to be replaced by Wallace McCamant.\n\nOpinions authored\nStettler v. O'Hara, 69 Or 519, 139 P. 743 (1914) (labor laws)\n\nFamily\nRobert Eakin married in 1876 to the former Nancy Walker. They had four children together. Eakin's younger brother James also served as a circuit judge, but in Clatsop County, Oregon. Robert Eakin died on October 1, 1917.\n\nReferences\n\nExternal links\nOregon Supreme Court Floatage Cases\n\n1848 births\n1917 deaths\nWillamette University alumni\nOregon state court judges\nPeople from Kane County, Illinois\nOregon pioneers\nChief Justices of the Oregon Supreme Court\n19th-century American judges",
"Harvey Eakin (October 30, 1926 – January 13, 1973) was a NASCAR Grand National Series driver from Baltimore, Maryland who competed from 1954 to 1957.\n\nSummary\nDuring the course of 17 races, he never won or even got a finish in the \"top ten.\" Eakin did race for 2,089 official NASCAR laps; bringing home $1,110 in the process ($ when adjusted for inflation). His average start is 35th place while 25th place was considered to be par for the course for Eakin. His only DNQ came at the 1955 Southern 500. The previous year at the 1954 Southern 500, Eakin started in 31st in his 1954 Nash vehicle and finished in 18th place; collecting $250 in the process ($ when adjusted for inflation).\n\nIntermediate tracks were the most favored by Eakin; giving him an 18th-place finish on average. His weakness was on road courses where a 32nd-place finish was considered to be normal. Richmond Raceway was Eakin's favorite track because he would finish 15th place there on average. Raleigh Speedway was really not a good track for Eakin because of his tendency to finish in 33rd place there on average. Eakin has competed in the USAC Stock Car series on one occasion and was always considered to be an owner-driver.\n\nEakin wasn't a terrible driver, however, as he managed to get one \"top-15\" finish in addition to six \"top-20\" finishes. Nash and Ford were his preferred manufacturers when it came to NASCAR vehicles. Not all of Eakin's races were considered to be successes as he failed to complete 8 out of the 17 races that he competed in.\n\nReferences\n\nExternal links\n \n\n1926 births\n1973 deaths\nNASCAR drivers\nPeople from Maryland\nAmerican racing drivers"
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"Thomas Eakins",
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"When did Thomas Eakin's early career start?",
"1871;"
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What kind of works did Eakins produce in his early career?
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What kind of works did Eakins produce in 1871?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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[
"The Eakins Press Foundation is an American publishing house based in New York established by Leslie George Katz in 1966 and named after the painter Thomas Eakins. Since its founding in 1966, the Eakins Press Foundation has published some of the classic volumes on American art and photography, including Lee Friedlander’s The American Monument, Walker Evans’s Message from the Interior, and Lincoln Kirstein’s definitive monograph on Elie Nadelman.\n\nThe Eakins Press Foundation was recognized as a 501(c)(3) charitable foundation in 1974.\n\nDetails\nKatz (1918–97), a former Black Mountain College student, established the press from the proceeds of a sale of his father's collection of Thomas Eakins paintings to Joseph Hirshhorn; to this day they comprise the nucleus of the Eakins Collection at the Hirshhorn Museum and Sculpture Garden in Washington, D.C.\n\nThe initial releases were a replica of the original 1855 edition of Leaves of Grass, the collection of twelve poems written by Walt Whitman that he had published himself; and Message From the Interior a collection of photographs by Walker Evans, who was best known for his work for the Farm Security Administration that captured the effects of the Great Depression. Both published in 1966, they represented the beginning of the Eakins Press imprint. For the next three decades, until his death in 1997, Katz published 56 books that were described by The New York Times as being \"notable for their meticulous, elegant design\", including works of photography, poetry, sculpture and the New York City Ballet. It published Lee Friedlander’s The American Monument, and Lincoln Kirstein’s definitive monograph on Elie Nadelman.\n\nA January 1993 show at the Zabriskie Gallery in New York City featured selections of 14 works published by the Eakins Press Foundation, along with samples of the art produced by the artists highlighted in the books.\n\nSince Katz's death in 1997, the Eakins Press Foundation continues to produce its \"invaluable explorations of the American imagination\" with publications including Circus: The Photographs of Frederick W. Glasier in 2009; Jed Perl's collection of essays on art and culture, Magicians & Charlatans in 2013; and 'O, Write My Name': American Portraits, Harlem Heroes (2015), a collection of fifty portraits taken by Carl Van Vechten of extraordinary individuals from the Harlem Renaissance. The current Director of the Eakins Press Foundation is Peter Kayafas.\n\nReferences\n\nExternal links\nEakins Press Foundation\n\nBook publishing companies of the United States\nPublishing companies established in 1966\n1966 establishments in New York (state)",
"Arcadia is a 1883 painting by Thomas Eakins, Goodrich #196. It is part of the collection of the Metropolitan Museum of Art.\n\nHistory\n\nIn the early 1880s, Eakins, instructor in painting at the Pennsylvania Academy of the Fine Arts, began to photograph models dressed in classical garb or nude and posed in vaguely classical poses. He used his friends and students as models, although taking nude photographs of a student was contrary to PAFA policy. Some of the photographs were used as studies for subsequent works, including those of nude young men swimming and relaxing on the shore of Dove Lake for the painting The Swimming Hole (1884-85).\n\nEakins's models for Arcadia were his former student and soon-to-be wife, Susan Macdowell, his teaching assistant at PAFA, J. Laurie Wallace, and his six-year-old nephew Ben Crowell (son of his sister Fanny). He photographed them outdoors in a number of poses and used the photographs as studies for Arcadia and several related works. The Arcadian works were very personal to Eakins—he even had himself photographed as the piper.\n\nPhotographs\n\nStudies\n\nRelated works\n\nSee also\n 1883 in art\n\nReferences\n\n1883 paintings\nMusical instruments in art\nNude art\nPaintings by Thomas Eakins\nPaintings in the collection of the Metropolitan Museum of Art"
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[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,"
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C_c28379c527ad4962b737f7781e7a2601_1
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What was his most popular early career work?
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What was Eakins most popular early career work?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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[
"Buddy Esquire (July 17, 1958 – January 31, 2014) was the most well-known show flyer artist in the Bronx in the early days of hip-hop, from 1978 to 1982. He was self-taught and learned drawing and typography principles from books at his local library. Graffiti, Japanese anime, superhero comics, and Art Deco architecture were among his influences. Grandmaster Flash, Afrika Bambaataa, Kool Herc, the Funky 4 Plus 1, and the Cold Crush Brothers were among the hip-hop legends whose early performances were advertised on his flyers. In the late 1970s and early 1980s, Buddy Esquire's visual styles helped to set the tone for hip-hop. His flyers are some of the only primary materials relating to the earliest developments of what is now the world's most popular music genre, aside from their striking graphic elements. Many of his work used jukeboxes and historic theater marquees as inspiration. His work featured sharp chiaroscuro shapes as well as a playful tension between lettering, photographs, and decorations.\n\nEarly life \nEsquire was born in the Bronx, New York, and lived in the James Monroe Houses. In 1972, he began creating graffiti, tagging under the names, \"ESQ\" and \"Phantom 1.\" Graffiti was an early practice in artistic development. He said, \"I kept practicing and eventually I got better at handling letter form.\" His graffiti career ended in the early 1980s.\n\nDesign career \nBuddy was an artist who taught himself. In 1977, Buddy began painting on people's garments, such as names on jeans. In the same year he start creating flyers, he created the first flyer for a neighborhood block party. He taught himself how to draft posters by following books from the public library. \n\nHe named his style, \"Neo-deco.\" Esquire used Art Deco-inspired borders and deco dry-transfer typefaces from Letraset. Though graffiti was often associated with hip-hop at this time, Esquire wanted to create an identity for the shows that was not only legible, but professional and stylish. This visual style was in contrast to the settings of most live hip-hop events in the Bronx from the late 1970s and early 1980s: local high schools and community centers. \"That's what I tried for, you know: give it a level of class even though it was just a ghetto jam,\" he said. He mentions his frequent use of the Broadway font family and its Art Deco antecedents. He was able to make exact and varied hand-drawn alphabets in 1978 and 1979, but he chose to start utilizing transferable lettering in 1980.\n\nDeath and legacy \nBuddy Esquire died in 2014 at the age of 55 by a kitchen accident, He succumbed to smoke inhalation. Though he made great contributions to design, he never made a living wage from his work. He worked for UPS most of his life. His funeral was attended by big names in early hip-hop: Afrika Bambaataa, Charlie Ahearn, and Theodore Livingston. Buddy Esquire's work is archived for Cornell University.\n\nA book of his handbills was published by Sinecure Books in 2015, titled \"Buddy Esquire: King of the Hip Hop Flyer.\"\n\nReferences\n\nAmerican graphic designers\nAfrican-American graphic designers\n1958 births\n2014 deaths\n20th-century African-American people\n21st-century African-American people",
"was a Japanese journalist noted for his research and commentaries on popular culture.\n\nBiography\nBorn in what is now part of Takatsuki, Osaka, Japan where his father was a soy sauce brewer, Ōya showed an early interest in social issues, and after dropping out of the University of Tokyo, he became involved in the Japan Fabian Society (a gradualist Socialist group). He was also active as a literary essayist and founded the Mass Communication Juku (マスコミ塾, literally the \"Mass Communication Workshop\"). His legacy includes the Oya Soichi Nonfiction Award, which recognizes the contributions of young journalists, and the Ōya Sōichi Library, a library that is the major archive in Japan collecting popular publications that most institutions ignore. Most of his literary works are included in the Ōya Sōichi Zenshū (大宅壮一全集) published by Sōyōsha (蒼洋社). He was praised \"as an iconoclast and hailed for the 'heckling spirit' he had cultivated throughout his career,\" but he has also been criticized for his critical attitude towards new religions.\n\nNotes\n\nExternal links\nŌya Sōichi Library\n\n1900 births\n1970 deaths\nPeople from Takatsuki, Osaka\nJapanese journalists\nJapanese non-fiction writers\nSocial critics\n20th-century journalists"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling)."
] |
C_c28379c527ad4962b737f7781e7a2601_1
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What is a Single Scull?
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What is a Single Scull?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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[
"A single scull (or a scull) is a rowing boat designed for a single person who propels the boat with two oars, one in each hand.\n\nRacing boats (often called \"shells\") are long, narrow, and broadly semi-circular in cross-section in order to minimize drag. They have riggers, which apply the forces symmetrically to each side of the boat and (usually) a fin towards the rear which helps prevent roll and yaw. Originally made from wood, shells are now almost always made from a composite material (usually carbon-fibre reinforced plastic) for strength and weight advantages.\n\nRecreational single sculls tend to be shorter and a little wider than racing boats and can have a slightly flattened hull shape to provide more stability. Recreational single sculls can be made of a variety of materials including carbon fiber, fiberglass, wood or rotomoulded polyethylene.\n\nThe single scull is the 2nd slowest category of racing boat (faster than the coxed pair), and competitors are recognised by other rowers as among the toughest, both physically and mentally: single sculling is sometimes known as 'king's class'.\n\nThe single scull is one of the classes recognized by the International Rowing Federation and the Olympics, who set the minimum weight of the hull at 14 kg (30.8 lbs): the average length is around 8.2 m (27 ft).\n\n \nSingle sculls are also used for the training of team rowers, serving primarily to enhance the rowers' individual technique and watermanship. The main reason for this is that in the single scull the sculler is responsible for all movement in the boat and therefore receives direct feedback on the effect of their movements on balance and speed.\n\nSingle sculling time trials and races are sometimes used to measure individuals' rowing ability for selection into larger boats, since each rower's ability can be measured directly and there is no contribution from other crew members. However sculling ability and sweep-oar rowing ability are not the same. Powerful and accomplished sweep-oar rowers may be unable to demonstrate their ability in a single scull, where balance and technique are more critical.\n\nA single Thames skiff has a similar layout to a single scull but is clinker-built with fixed seats and tholes instead of outriggers and can be skiffed for leisure outings or in competitive races.\n\nMajor competitions\n\nWingfield Sculls (1830-)\nWorld Sculling Championship (Professional) (1831-1957)\nDiamond Challenge Sculls at Henley Royal Regatta (1844-\nRowing at the Summer Olympics (1900-)\nWorld Rowing Championships (1974-)\n\nSee also\n\nDouble scull\nQuad scull\n\nReferences\n\nRowing racing boats",
"Neptune Rowing Club, founded in 1908, is located on the River Liffey at Islandbridge, Dublin. It is one of the largest clubs in Ireland, steeped in history and is housed in a new boathouse that was opened in March 2010 by then-President of Ireland Mary McAleese.\n\nThe club is a member of the Dublin Metropolitan group of clubs which operates a boat house on the reservoir in Blessington - therefore the club's rowers train at both Islandbridge and Blessington. The Dublin Metropolitan Regatta is also hosted here each year.\n\nNeptune has a strong history in competitive rowing - it has accumulated 152 National Championship titles since 1914, and has won a number of Henley Regatta events including the Diamond Sculls, Britannia 4, Ladies Plate 8, Thames Cup 8 and Prince of Wales 4x (composite with Commercial RC).\n\nVictories at Henley Royal Regatta \nIn the 1996 Thames Cup final, Neptune beat Wallingford A.\n\nMore recently Neptune had further success at Henley in the Henley Women's Regatta of 2010 with a convincing win for the Elite Pair, beating Oxford University by two lengths in the final.\n\nHonours\n\nCurrent Membership \n\nThe club currently has a very large and active group of members competing at all levels and across age groups, from novices to internationals competing for Ireland.\n\nA 'Learn To Row' programme is taught at Neptune Rowing Club and participants can graduate from the programme into our competitive Novice Squad. The club also boasts a considerable number of Masters athletes (age 28-70) who compete in Ireland and individuals also represent Ireland at the World Masters Championships.\n\nChampionship victories \n\nAll these are Neptune Irish Championships Titles\n(152 titles since 1914) \n2016 Men's Novice Quad, Women's Novice Quad \n2010 Women's Senior Pair\n2007 Women's Senior Double Scull, Women's Senior 8+ ( composite with Waterford & Muckross )\n2006 Men's Junior Scull, Men's Junior Double Scull, Women's Intermediate 8+, Women's Junior Scull and Women's Junior Double Scull\n2005 Men's Intermediate 4+, Men's Junior 18 Double Scull, Women's Novice Scull\n2004 Seniors: Women's Four\nIntermediates: Women's Eight, Women's Four\nJuniors: Men's Scull\n2003 Juniors: Men's Quad, Men Pair, Men's Double Scull\nNovices: Women's Eight\n2002 Juniors: Men's Eight, Men's Four, Men's Pair. Seniors: Men's Quad (composite)\n2001 Seniors: Men's Eight, Women Eight, Women's Four, Men's Quad, Men's Single, Men's Coxless Four, Men's Pair, Men's Double Scull, Men's Lightweight Scull\nIntermediates: Men's Eight\nJuniors: Men's Eight\n2000 Seniors: Women's Four, Men's Double Scull\nIntermediates: Women's Eight, Women's Single\nJuniors: Men's Eight\n1999 Seniors: Men's Eight, Men Four, Men Quad, Men Single, Men's coxless Four, Men's Pair\nIntermediates: Women's Eight, Women's Four, Men's Single\n1998 Seniors: Men's Eight, Men's Four, Men's Single, Men's Coxless Four, Men Pair, Men's Double Scull\nNovices: Men's Four\nJuniors: Men's Double Scull\n1997 Seniors: Men's Eight, Men's Four, Men's Quad, Men's Single, Men's Coxless Four, Men's Pair, Men's Double Scull\nIntermediates: Men's Pair, Men's Single\nNovices: Men's Eight, Men's Four\n1996 Seniors: Men's Eight\nNovices: Women's Single\nJuniors: Men's Quad, Women's Pair, Women's Double Scull\n1995 Seniors: Men's Eight, Men Coxless Four, Men's Pair, Men's Double Scull\n1994 Seniors: Men's Coxless Four, Men's Pair\nIntermediates: Men's Eight\n1993 Seniors: Men's Four, Men's Coxless Four\nNovices: Women's Four\nJuniors: Men's Single, Men's Double Scull\n1992 Seniors: Men Eight, Men's Four, Men coxless Four, Men's Lightweight Scull\nJuniors: Men's Double Scull\n1991 Seniors: Men's Four, Men's Lightweight Scull\nJuniors: Men's Eight\n1990 Seniors: Men's Eight\nJuniors: Men's Eight\n1989 Seniors: Men's Eight, Men's Pair\nJuniors: Men's Double Scull\n1988 Seniors: Men's Four, Men's Pair\nIntermediates: Men's Single\n1987 Seniors: Men's Eight, Men's Four, Men Pair\n1986 Seniors: Men's Eight, Men's Four, Men Pair\nJuniors: Men Pair, Men Double Scull\n1985 Seniors: Men's Eight, Men's Four, Men's Pair\nIntermediates: Men's Four\n1984 Seniors: Men's Eight\n1983 Intermediates: Men's Four\n1982 Seniors: Men's Pair\nNovices: Men's Eight, Men's Four\nJuniors: Men's Single, Men's Four, Men's Pair, Men's Double Scull\n1981 Seniors: Men's Four\nIntermediates: Men's Eight\nJuniors: Men's Eight, Men Four, Men's Double Scull\n1980 Seniors: Men's Eight\nJuniors: Men's Double Scull: Jerome Hurley and John Moloco\n1979 Seniors: Men's Double Scull\nJuniors: Men's Four, Men's Pair\n1977 Intermediates: Men's Eight, Men's Four\nNovices: Men's Eight\n1976 Juniors: Men's Four\n1975 Intermediates: Men's Four\n1974 Novices: Men's Eight\n1972 Novices: Men's Eight\n1971 Intermediates: Men's Eight, Men's Four\n1970 Seniors: Men's Eight\n1975 Juniors: Men's Single\n1963 Intermediates: Men's Four\n1947 Novices: Men's Eight\n1944 Intermediates: Men's Eight\n1934 Seniors: Men's Eight\nIntermediates: Men's Eight\n1914 Seniors: Men's Eight\n\nReferences\n\nExternal links\n Neptune Rowing Club\n Henley Royal Regatta Winners\n\nRowing clubs in Ireland\nWater sports in County Dublin"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat."
] |
C_c28379c527ad4962b737f7781e7a2601_1
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Why was this a popular painting?
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Why was The Champion Single Sculling a popular painting?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city".
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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"The Death of Nelson is a painting by the American artist Benjamin West dated 1806.\n\nIn 1770, West painted The Death of General Wolfe. This was not an accurate representation of the event, but rather an idealisation, and it included people who were not present at the event. Nevertheless, it became very popular, and West painted at least five copies.\n\nIn 1801, three years after the Battle of the Nile, West met Horatio Nelson, who told him how much he admired the painting of Wolfe, and asked why he had not produced any more similar paintings. West, who was at the time the President of the Royal Academy, replied that he had found no subject of comparable notability. Nelson then expressed the desire that he would be the subject of West's next similar painting. In 1805, Nelson was killed in the Battle of Trafalgar and, within six months, West had created this painting. Again it proved to be popular. When West exhibited it in his studio, within just over a month it was seen by 30,000 members of the public.\n\nAgain it was an idealisation of the subject. Although West took considerable trouble about the accuracy of details in his painting, basing the portraits on over 50 survivors of the battle, he produced, as he admitted himself, a picture \"of what might have been, not of the circumstances as they happened\". West created two more paintings with Nelson as the subject, The Death of Lord Nelson in the Cockpit of the Ship \"Victory\" and The Immortality of Nelson, both of which are in the National Maritime Museum.\n\nOther artists produced works depicting the same event. One of these was Arthur William Devis who painted The Death of Nelson, 21 October 1805, now also in the National Maritime Museum. Another was The Death of Nelson by Daniel Maclise, a large wall painting in the Royal Gallery of the Palace of Westminster. The finished study for this work is owned by the Walker Art Gallery in Liverpool, Merseyside, England, having been bought by the gallery in 1892.\n\nWest's painting is in oil on canvas and measures by . It was presented to the Walker Art Gallery by Bristow H. Hughes.\n\nReferences\n\nPaintings by Benjamin West\n1805 in Europe\n1806 paintings\nPaintings in the collection of the Walker Art Gallery\nPaintings about death\nNaval war paintings\nCultural depictions of Horatio Nelson",
"Shen Quan (; c. 1682–1760) was a Chinese painter during the Qing Dynasty (1644–1912). His courtesy name was Nanpin (南蘋) and his sobriquet was Hengzhai (衡斎). His works became influential in Japanese Edo period art.\n\nBiography \nShen was born in Deqing in Zhejiang province. He specialized in bird-and-flower painting, and was influenced by Bian Jingzhao and Lü Ji. His works were painted in a very realistic style, and he had many students and patrons.\n\nShen was invited to Japan by a high official. He arrived in Nagasaki in the final month of 1731 with two students, acquiring many Japanese students after his arrival. His paintings soon became very popular, and after his 1733 return to China he continued to send paintings back to Japan. Shen had many pupils while in Japan; his most important was Kumashiro Yūhi, who in turn taught Sō Shiseki and Kakutei. Other artists influenced by Shen included Katsushika Hokusai, Maruyama Ōkyo, and Ganku.\n\nShen's paintings were popular for their realistic, colored images of animals and flowers, and three-dimensional trees and rocks.\n\nCritical analysis\nThe painting style of Shen Nanping and his school would therefore be fruit of an artistic investigation. In their paintings, flora and fauna are not just “realistic”, but are styled just as they appear in Chinese and European treatises. Chinese and Western treatises on natural sciences could have played a key role in the spread of knowledge on subjects such as botany, zoology, and mineralogy, and that the images featured in these treatises might have inspired artists to choose and create new representations of bird-and-flower. That is why scholar Meccarelli has called the style of the Shen Nanping school “flora and fauna decorative painting”.\n\nGallery\n\nSee also\nNanpin school\nSō Shiseki\nBird-and-flower painting\nChinese painting\nJapanese painting\n\nReferences\n\nExternal links \n\n JAANUS biography\n Answers.com biography\n Fritz van Briessen, The Way of the Brush: Painting Techniques of China and Japan, Tuttle Publishing, 1999, pages 199-200. .\n\n1682 births\n1760 deaths\nPainters from Zhejiang\nQing dynasty painters\nPeople from Huzhou"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.",
"Why was this a popular painting?",
"Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\"."
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C_c28379c527ad4962b737f7781e7a2601_1
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What other works did he create in his early career?
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What other works did Eakins create in his early career other than the Champion Single Sculling?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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"Eduardo Tubig Mutuc is a Filipino metalsmith and sculptor. He is a known to be a practitioner of the craft of pinukpuk which involved the stamping of embellishments on metal sheets.\n\nMutuc create works of both secular and religious nature using silver, wood and bronze mediums. This includes retablos, mirrors, altars and carosas.\n\nCareer\nMutuc is a Kapampangan from Apalit, Pampanga. He was born on October 12, 1949, to farmers and grew up with nine siblings. He only finished his elementary education helping his parents in farming thereafter. He continued to work as a farmer in adulthood.\n\nFinding an alternative source of income to supplement his earnings from farming, he started his artistic career late as a woodcarver at age 29. He worked in an antique shop owned by the Lozano family who were his relatives as a helper. It was during his stint that he learned woodcarving under Carlos Quiros. On his sixth year, he learned silver plating or locally known pinukpuk from a colleague and left the furniture shop where he was working to be an independent craftsman with another friend.\n\nOne of his first clients as an independent craftsman was Monsignor Fidelis Limcauco who commissioned him to create a tabernacle for a parish church in Fairview, Quezon City. He went on to create other religious works many of which are based on Spanish colonial designs although Mutuc also incorporates his own ideas. He also did works of secular nature, although even in this case rely on religious influence to create such works.\n\nHe was given the National Living Treasures Award in 2004.\n\nPersonal life\nMutuc got married when he was 20 years old. He fathered nine children with his wife.\n\nReferences\n\nFilipino sculptors\nPeople from Pampanga\n1949 births\nLiving people",
"Steiner House is a building in Vienna, Austria. It is considered one of the major works of architect Adolf Loos.\n\nBackground\nLoos was still starting his career in 1910 when he designed and constructed the Steiner house in Vienna, Austria. This design was much better accepted than Loos' earlier works and quickly became a worldwide example of rationalist architecture. In his buildings, Loos normally starts with one main volume in which the space, configuration, and elements follows the rules and composition of classical architecture. He organizes the interior of that volume with smaller cubes, rectangles boxes, and cylinders arranged in a volumetric puzzle of sorts. This determines the internal organization of his buildings and Loos regularly uses protrusions from the main block to create other areas of the building such as terraces. In the Steiner house, Loos uses his volumes to create a classical tripartite façade. He does this by creating a recess between the two wings of the house that continues straight to the roof. In general, Loos lets his fenestration be subdivided into squares and rectangles that all obey a modular system, which correspond perfectly with the geometry of the façade. This system sets up order on the interior such as the living room being connected to a terrace that has access to the garden. Even in this early design, Loos uses interior organization that would remain with him throughout his career.\n\nThe Steiner house features a living area that is raised slightly above the ground level and separated from more private areas of the house such as bedrooms and painting studio, which was located on the first floor. The served space in this house is neatly separated from the serving space by placing the serving space in the basement and attic. This was the style for which Loos strove: a refined and intricate interior with a simple and nonthreatening exterior.\n\nThe Steiner house has a stucco façade like most of his other buildings but not without reason. Loos built his buildings with roughcast walls and used the stucco to form a protective skin over the bricks. Loos did not want to use the stucco as a cheap imitation rock and condemned that practice; in general he used stucco for its functionality. The stucco façades have another benefit: they create a smooth, unornamented, and white surface. This surface represents the nature of the material and also does not hint to what is inside the building.\n\nMost of Loos' works were located in open lots and did not need any party walls and yet they faced other constraints that he had to work around. In the case of the Steiner house, Loos was only able build one floor above the street level. This led him to create a one quarter round roof that is facing the street. This roof flattens out the apex and makes the two additional floors that look out onto the garden impossible to see from the street. The curved roof was an interesting choice because it was not a straight break from gabled roofs or a brand new innovative idea. Instead it was meant to demonstrate certainty of form and economy of space, proving that traditions can be manipulated or rid of completely, for a functional and non-aesthetic purpose.\n\nNotes\n\nReferences\n\nBuildings and structures in Hietzing\nHouses completed in 1910\nModernist architecture\nAdolf Loos buildings\nHouses in Austria"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.",
"Why was this a popular painting?",
"Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\".",
"What other works did he create in his early career?",
"At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,"
] |
C_c28379c527ad4962b737f7781e7a2601_1
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What were some of the titles of this series?
| 7 |
What were some of the titles of domestic Victorian interiors?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
| true |
[
"The following is a list of episodes for the British sitcom 'Allo 'Allo! that aired from 1982 to 1992. Following the Pilot in 1982, the series was officially launched two years later in 1984 (Series 1) and continued to Series 9 (1992); including two Christmas Special episodes in 1985 (between Series 2 and 3) and in 1991 (between Series 7 and 8). The last series (Series 9) was followed by two retrospective episodes in 1994 (The Best of 'Allo 'Allo!) & 2007 (The Return of 'Allo 'Allo!). In total, including the Pilot, the two Christmas Specials and the two post series retrospective episodes; there are 87 episodes. Dates shown are original air dates on BBC One (except for The Return of 'Allo 'Allo! episode which was broadcast on BBC Two).\n\nOverview\n\nEpisodes\n\nPilot (1982)\n\n Produced by David Croft\n\nSeries 1 (1984)\n\nSeries 2 (1985)\n\nSeries 3 (1986–87)\n\nSeries 4 (1987)\n\nSeries 5 (1988–89)\n\nSeries 6 (1989)\n\nSeries 7 (1991)\n\nSeries 8 (1991–92)\n\nSeries 9 (1992)\n\nSpecials\n\nThe Best of 'Allo 'Allo! (1994)\n\nThe Return of 'Allo 'Allo! (2007)\n\nNotes\nThere remains some confusion over what the official titles are for each 'Allo 'Allo! episode (there were no onscreen titles for any episodes on the original transmission, though many episodes have had such titles added for repeat screenings and DVD releases, nor in Radio Times, though again the magazine has listed titles for some repeats). \nThis had led to different DVD releases using different titles; and some fans have formed their own unofficial titles for episodes which have not yet been released on DVD. For the purposes of clarification, titles shown here are as follows:\n Series 1-7: These are the titles which appear on the British Region 2 DVD releases. Titles shown in brackets are where Region 1 and Region 4 DVD release titles do not correspond to those on the British Region 2 DVD release.\n Series 8-9: These are the titles which appear on the American Region 1 DVD releases. Series 8-9 and the second Christmas Special (under the title \"Pregnancy\") have been released on DVD in Poland, however with no titles, just notes on every episode.\n\nReferences\n\nExternal links\n \n \n\nList of Allo Allo episodes\nAllo Allo episodes, List of",
"This is a list of episodes in the Negima! anime series, its remake, Negima!?, and the live-action adaptation Negima!!.\n\nNegima! episodes \nTo fit with the magical theme of the first Negima! series, the official names for the episodes are Latin phrases, with the episode numbers written in Roman numerals.\n\nNegima!? episodes\nThis section contains a list describing the episodes of the anime series Negima!? All of the episode titles in this series are treated as a quote (or set of quotes) by one or more of the characters in the series.\n\nThe main English episode titles given below are the official ones as they were released. Some of the episode minor titles, however, are approximate translations of their literal titles.\n\nMagister Negi Magi: Mahō Sensei Negima!! episodes\nThis section lists the episode titles of the live action series version Magister Negi Magi: Mahō Sensei Negima!!\n\nNegima\nNegima!"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.",
"Why was this a popular painting?",
"Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\".",
"What other works did he create in his early career?",
"At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,",
"What were some of the titles of this series?",
"Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),"
] |
C_c28379c527ad4962b737f7781e7a2601_1
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What did the critics think of his early works?
| 8 |
What did the critics think of Eakins early works?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
|
Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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[
"Julius Leopold Korngold (24 December 1860 – 25 September 1945) was an Austrian music critic. He was the leading critic in early twentieth century Vienna, serving as chief music critic of the Neue Freie Presse from 1904 to 1934. His son was the composer Erich Wolfgang Korngold, whom he named after Wolfgang Amadeus Mozart, one of his favorite composers.\n\nLife and career\nHe was the father of composer Erich Wolfgang Korngold. He co-wrote the libretto of the opera Die tote Stadt with his son (under the collective pseudonym Paul Schott). He died in Hollywood, California on 25 September 1945.\n\nIn his time, he was known as the \"dean of European music critics\". He is most notable for championing the works of Gustav Mahler at a time when many did not think much of him.\n\nReferences\n\nSources\n\nFurther reading\n\nExternal links\n \n \n\nAustrian music critics\nAustrian Jews\n1860 births\n1945 deaths\nAustrian opera librettists",
"Guy P. Harrison (born October 8, 1963) is an American author of multiple bestselling books. He resides in the United States and is known for his written works on science, critical thinking, history, race, and nature.\n\nEarly life and education\nHarrison has degrees in history and anthropology at the University of South Florida. He was influenced towards skepticism in childhood by thinking about Erich von Däniken's book Chariots of the Gods?, which theorized that Earth had been visited by aliens during antiquity.\n\nCareer\nFrom 1992 to 2010 Harrison wrote for Cayman Free Press in the Cayman Islands as a journalist, editor and photographer. As a journalist he has interviewed people such as Jane Goodall, Chuck Yeager, Edward Teller, Paul Tibbets and Armin Lehmann. From 2014–2015 he did medical writing for Kaiser Permanente. He has a blog at Psychology Today named About Thinking.\n\nHarrison has written multiple books on science, skeptical and philosophical issues, beginning with 50 Reasons People Give for Believing in a God in 2008. He has been widely interviewed regarding these works on many podcasts and websites, and the books have been endorsed by prominent scientists such as Neil deGrasse Tyson, Seth Shostak, and Donald Johanson.\n\nHonors\nHarrison was a recipient of the World Health Organization Award for Health Reporting in 1997 and the Commonwealth Media Award for Excellence in Journalism in 1994.\n\nBibliography\n 50 Reasons People Give for Believing in a God (2008)\n Race and Reality: What Everyone Should Know about Our Biological Diversity (2010))\n 50 Simple Questions for Every Christian (2013))\n 50 Popular Beliefs that People Think are True (2013))\n Think: Why You Should Question Everything (2013))\n Good Thinking: What You Need to Know to be Smarter, Safer, Wealthier, and Wiser\n Think Before You Like: Social Media's Effect on the Brain and the Tools You Need to Navigate Your Newsfeed (2017))\n What Makes Your Brain Happy and Why you Should do the Opposite (Prometheus Books, 2018)\n At Least Know This: Essential Science to Enhance Your Life (Prometheus Books, 2018)\n\nThink Before You Like\nIn a review in Skeptical Inquirer magazine, researcher Ben Radford writes that Harrison examines social media offering \"practical advice on media literacy and cyber self-defense\". Radford states that Chapter 2 might be the most relevant to skeptics trying to \"understand the psychological and social consequences of social media\". Think Before You Like was published in 2017 before information about how the power of social media was used in the US Presidential elections. Yet, according to Radford, \"Harrison's book will only become more timely in the coming years\".\n\nAt Least Know This\nReviewed in the Spring 2019 issue of Skeptical Inquirer by Russ Dobler, who writes that At Least Know This is a primer for the layperson who wants to understand what we know, not necessarily how we know it. Dobler calls this “a Herculean organizational effort” that “excels”. Harrison brings his skills as a journalist as well as his degrees in history and anthropology to discuss weighty topics “spanning all of time and space”. It almost “feels a bit like an attempt at a twenty-first century version of Cosmos''” yet, some “science purists who prioritize methodology over trivia” may not agree. Dobler writes: “one step at a time. Bring the wonder, and maybe the rigor will follow”.\n\nReferences\n\nExternal links\n\n LinkedIn page\n Guy P. Harrison: A Skeptic's Perspective (YouTube video: 1 hour and 15 minutes)\n Author quotes on Goodreads\n\nAmerican atheists\nAmerican skeptics\nLiving people\n1963 births\nCritics of creationism\nCritics of religions\nUniversity of South Florida alumni\nPlace of birth missing (living people)\nAmerican male non-fiction writers\n21st-century American male writers\n21st-century American non-fiction writers"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.",
"Why was this a popular painting?",
"Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\".",
"What other works did he create in his early career?",
"At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,",
"What were some of the titles of this series?",
"Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),",
"What did the critics think of his early works?",
"Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes."
] |
C_c28379c527ad4962b737f7781e7a2601_1
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Was Eakins married?
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Was Eakins married?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
| true |
[
"Elizabeth Macdowell Kenton (1858-1953) was an American artist known for her figure paintings and portraits. She was also a photographer.\n\nEarly life\nShe was one of the eight children of Hannah Gardner and William Hance Macdowell, a Philadelphia engraver, photographer, and a skilled painter. He passed on his interest in Thomas Paine and freethought to his three sons and five daughters.\n\nElizabeth and her sister Susan each displayed an early interest in art, which was encouraged by their father. They both studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins, and Susan married Eakins in January 1884. Eakins painted portraits of several of the Macdowells, and used them as models in photographs.\n\nDay Dreams: Portrait of Caroline Eakins, Elizabeth's portrait of Susan's sister-in-law, was exhibited at the 1893 World's Columbian Exposition in Chicago. It eventually found a home in the Taubman Museum of Art in Roanoke, Virginia, while many of her other works can be found in private collections.\n\nElizabeth Macdowell married Louis N. Kenton (1865–1947) on May 31, 1899. Thomas Eakins painted a portrait of him, The Thinker (1900), now at the Metropolitan Museum of Art. The Kentons' marriage was brief and not happy, with notes from Susan's diaries indicating that he was physically violent.\n\nReferences\n\n1858 births\n1953 deaths\n19th-century American painters\nAmerican women painters\n19th-century American women artists\nPennsylvania Academy of the Fine Arts alumni\nStudents of Thomas Eakins",
"Dallas Franklin Eakins (né Yoder; February 27, 1967) is an American-Canadian professional ice hockey coach and former player. He is the head coach of the Anaheim Ducks of the National Hockey League (NHL). He previously served as the head coach of the Edmonton Oilers of the NHL.\n\nEarly years\nEakins' mother, Carol Ploof, was a native of Macon, Georgia. His birth father was a Native American, Ted Yoder, who Eakins believes was Cherokee. Both parents split up shortly after his birth. Ploof later married Jim Eakins, a Canadian long-distance truck driver, and Dallas subsequently adopted his stepfather's last name.\n\nIn October 1974, Eakins' family relocated to Peterborough, Ontario. As a youth, he played in the 1980 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Peterborough.\n\nPlaying career\nEakins played 4 seasons in the Ontario Hockey League (OHL) for the Peterborough Petes, being named the captain in his final year and also the team's best defenseman that season. Jeff Twohey who was with the Petes for 3 decades called him the best captain the team ever had, saying \"He was a great leader. He was a hard worker, loyal, tough, and never afraid to confront people. He knew how to keep players in line.\"\n\nEakins was drafted 208th overall by the Washington Capitals in the 1985 NHL Entry Draft. He went on to play 120 career NHL games, scoring no goals and 9 assists for 9 points, thus becoming the second Floridian to play in the NHL, but the first to ever record a point. Eakins is the first player \nborn in the state of Florida to play for the Florida Panthers, having played for the club on two separate stints (but was raised primarily in Canada). However, the majority of Eakins career was played in the American Hockey League (AHL) and the International Hockey League (IHL). In those two leagues, Eakins played 882 games, scoring 43 goals and 179 assists for 222 points, whilst playing for 10 different teams. Eakins also won a Calder Cup and a Turner Cup as a member of the Chicago Wolves.\n\nEakins once made a bet with Cincinnati radio personality Dennis \"Wildman\" Walker of WEBN while a member of the Cincinnati Cyclones that he would not score more than 3 goals in one season. Walker stated that Eakins could shave his head at center ice of the Cincinnati Gardens if he eclipsed that mark. Eakins not only scored six goals, but did it in 30 games. The head shaving took place at center ice, prior to a game in December 1994, against the Long Beach Ice Dogs.\n\nWhile serving as the captain of the Manitoba Moose in the 2003–04, Eakins switched from his number 6 to number 37, in honor of his friend and former Wolves teammate, Dan Snyder, who was killed in a car accident in Atlanta, Georgia. Snyder was a member of the Atlanta Thrashers.\n\nCoaching career\n After retiring as a player, Eakins joined the Toronto Maple Leafs organization as an assistant coach for the Toronto Marlies and later the Maple Leafs in 2006. In 2009, he was given head coaching duties for the Marlies. While with the Marlies, Eakins was named as one of two head coaches representing the Western Conference for the 2011–2012 and 2012–2013 seasons AHL All-Star games.\n\nEakins left the Marlies in the summer of 2013 to become the head coach of the Edmonton Oilers, but was fired from his position after only 18 months on December 15, 2014. In June 2015, the Anaheim Ducks hired Eakins as the head coach of their AHL-affiliate, the San Diego Gulls.\n\nOn June 17, 2019, the Anaheim Ducks named Eakins as franchise's 10th head coach.\n\nPersonal life\nEakins is married to actress Ingrid Kavelaars. They have two daughters together. His career is profiled in the book \"Journeymen: 24 Bittersweet Tales of Short Major League Sports Careers\" by Kurt Dusterberg.\n\nCareer statistics\n\nHead coaching record\n\nNHL\n\n* Shortened seasons due to the COVID-19 pandemic during the 2019–20 and 2020-21 seasons\n\nAHL\n\nReferences\n\nExternal links\n \n\n1967 births\nLiving people\nAmerican emigrants to Canada\nAmerican men's ice hockey defensemen\nBaltimore Skipjacks players\nBeast of New Haven players\nBinghamton Rangers players\nCalgary Flames players\nCanadian adoptees\nCanadian ice hockey defencemen\nChicago Wolves players\nCincinnati Cyclones (IHL) players\nEdmonton Oilers coaches\nFlorida Panthers players\nIce hockey people from Florida\nIce hockey people from Ontario\nManitoba Moose players\nMoncton Hawks players\nNative American sportspeople\nNew York Islanders players\nNew York Rangers players\nPeople from Dade City, Florida\nPeterborough Petes (ice hockey) players\nPhoenix Coyotes players\nSportspeople from Peterborough, Ontario\nSpringfield Falcons players\nSt. John's Maple Leafs players\nSt. Louis Blues players\nToronto Maple Leafs coaches\nToronto Maple Leafs players\nToronto Marlies coaches\nWashington Capitals draft picks\nWinnipeg Jets (1979–1996) players\nWorcester IceCats players\nAmerican people of Cherokee descent\nAmerican expatriates in Canada"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.",
"Why was this a popular painting?",
"Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\".",
"What other works did he create in his early career?",
"At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,",
"What were some of the titles of this series?",
"Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),",
"What did the critics think of his early works?",
"Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.",
"Was Eakins married?",
"In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879."
] |
C_c28379c527ad4962b737f7781e7a2601_1
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Did Eakins do any artwork with Cromwell as the subject?
| 10 |
Did Eakins do any artwork with Cromwell as the subject?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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Elizabeth Crowell and her Dog (1874),
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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"Portrait of Mary Adeline Williams is the title given to two separate oil on canvas paintings by Thomas Eakins, each depicting Mary Adeline Williams (1853–1941), known familiarly to the Eakins family as \"Addie\". The first painting, now in the Art Institute of Chicago, was completed in 1899, and portrays the subject with a serious demeanor. The second portrait, in the Philadelphia Museum of Art, was painted in 1900, and is more emotionally expressive. The contrast between the paintings has been called \"Perhaps the most famous example of Eakins's transforming a sitter dramatically while maintaining the effect of severe realism.\"\n\nBackground\nMary Adeline Williams was a longtime friend of the Eakins family, a best friend to Eakins' younger sister Margaret, and a distant relation through marriage; she would later say that Thomas Eakins \"was like a big brother to me.\" As early as 1867 Eakins took a protective interest in her, writing to his sister Fanny: \"She is a pretty little girl & I guess just as good as she is pretty, or she belies her blood. We owe a great deal to her father & mother for their unvarying disinterested kindness to us....Try to make her welcome whenever she comes to town.\"\n\nWilliams never married, and for some years worked as a seamstress and made corsets. In 1882 Thomas Eakins' father Benjamin invited her to live in the Eakins' home in Philadelphia; Williams demurred, and moved to Chicago, where she lived for six years with one of her brothers. During this time she and Eakins maintained a written correspondence, and the friendship with Eakins' family was further renewed when she returned to Philadelphia in the late 1890s.\n\nEakins's relationship with Mary Adeline Williams has been the subject of a decades-long debate among art historians. Eakins biographer Lloyd Goodrich conducted interviews with many of Eakins's surviving friends and family members about a decade after Eakins's death. Goodrich himself thought a sexual relationship was unlikely, believing that Eakins would not be inclined to participate in an extramarital affair in his own home. However, he found that many of Eakins's friends believed that his relationship with Williams was sexual in nature. Eakins' student and confidante Samuel Murray stated publicly that he believed the relationship between artist and sitter was sexual, and one of Eakins' nephews believed that Eakins, his wife, and Addie were engaged in a ménage à trois. Other Eakins acquaintances, such as Lucy W. Langdon Wilson, disagreed, noting that Eakins was not interested in seduction, and if a sexual situation developed, she believed \"he would leave before the critical moment.\" It is possible that the portraits reflect Eakins's responsiveness to Williams' varied emotional conditions, rather than recording the effects of a physical relationship.\n\nComposition\nThe 1899 portrait of Williams depicts her wearing a pleated black dress with a high white collar. Her hair is in a tight bun, set against a dark brown background. Williams is turned slightly to the right, with a strong light cast on that side of her body. Her lips are pursed and her brow is furled; her expression is nearly a scowl. Dark circles are visible under her eyes. \n\nThe 1900 portrait depicts Williams from the left side. She is wearing a black dress with red stripes, a pair of red ribbon bowties, and a red ribbon around her neck. Williams's hair is worn down, set against a dark brown background. Her cheek is slightly sunken. Her expression is much softer, virtually inscrutable. The portrait was originally painted on a 24 x 20 inch canvas. Eakins cut two inches off the right side, and tacked it to a new stretcher. This had the effect of re-centering the work on Williams's face.\n\nComposition history\n\nEakins began the first painting of Addie Williams in late February 1899; his wife Susan Macdowell Eakins recorded in her diary that work had commenced on February 26. In it Addie is seen in three-quarters profile in a dark blouse, described as \"prison-bar black\", with a light scarf around her neck, its bow tied at the front of her throat. Her hair is tightly tied back, and she sits erect and anxious. The portrait is unflinching in its verisimilitude to the lines of the sitter's face and her subtle frown, and has been seen as representative of \"spinsterhood\" for its characterization of a fastidious and prim personality. Later Susan Eakins recalled that Addie had been \"rather worried\" at the time. Eakins continued to work on the painting at least through mid-May of that year. The painting entered the collection of the Art Institute of Chicago in 1939.\n\n \n\nWithin the next year Eakins and his wife invited Addie to live with them; she accepted, and remained in their house for nearly forty years. According to Susan Eakins, Williams had become \"more relaxed and more tender\", and was \"a beloved companion in our house.\" When Lloyd Goodrich visited Susan Eakins and Addie Williams in the 1930s, he found \"the two elderly women (Addie was two years younger) seemed like sisters, ready with memories and facts about Tom.\" Eventually Addie Williams inherited one quarter of Eakins' estate. \n\nThe second portrait was painted in 1900, during Williams' first year living in the Eakins home. A pendant to the first portrait, the second painting has been called \"a romantic fantasia, or unrestricted variation and development on the original theme\"; it is more richly and loosely painted than its predecessor. In this version Addie Williams is turned fully toward the light, appears less troubled, with more richly colored skin and mouth. Her lips are fuller, eyes moister, and her hair less constrained and more natural in appearance. The characterization is more intimate, with the angle of the head implying the sense of resignation that Eakins favored in his later portraits. To Goodrich, she appears to be \"a kindly woman, wise, gentle, and warm, with a sense of humor— as I found her to be.\" Her striped dress is adorned with bows and flounces which hide the body beneath vigorous strokes of red-orange paint; the handling of multi-colored drapery has been compared to virtuoso passages by Eakins' American Impressionist contemporaries. The Philadelphia Museum of Art received the painting as a gift from Susan Macdowell Eakins and Addie Williams in 1929.\n\nInterpretation\nThe difference in mood between the paintings has been ascribed to the possibility of an affair between Eakins and Williams. Eakins' biographer William Innes Homer contrasted the second portrait, \"radiantly affectionate\", with a contemporaneous painting the artist made of his wife, in which Susan Eakins appears \"worn and strained.\" \n\n \n\nAnother Eakins biographer, Margaret McHenry, described the portraits by noting that: \n\nRegarding the warmth of the second portrait, Eakins biographer Elizabeth Johns described Addie as she \"tilts her head and smiles gently to imply that all will be, really, all right.\"\n\nYet another interpretation questions the assumptions that the portraits reflect Addie Williams' fulfillment through sexual or familial ties, or that they record her changes of mood; rather, the difference in the portraits may document Eakins' more profound perception of Williams as he came to know her better. Eschewing a strictly biographical reading, it is possible that the paintings may also allude to broader cultural assumptions about unmarried women, and to Eakins' interest in visiting variations on a theme. \n\nReferring to Eakins' achievement in the second portrait, Homer wrote: \"It is one of the first portraits in which he opened himself up to a particular woman rather than visualizing her according to his earlier intellectualized notion of a woman cast in a masculine mold. The painting marks the beginning of Eakins's ability to empathize with women in portraiture.\" Goodrich called it \"one of his most sympathetic, intimate portraits of a middle-aged woman.\"\n\nBased on a perceived resemblance, several of Eakins' biographers have speculated that Addie Williams later served as a model for the artist's 1908 nude studies for William Rush and His Model. Goodrich, describing the model for the nudes as \" a mature woman\" and a distinctive individual, did not see a resemblance to any of Eakins' portraits, and believed her to have been a professional model.\n\nNotes\n\nReferences\n Adams, Henry. Eakins revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .\n Banham, Joanna; Jiminez, Jill Berk. Dictionary of artists' models. Taylor & Francis, 2001.\n Goodrich, Lloyd: Thomas Eakins, Vol. II. Harvard University Press, 1982. \n Homer, William Innes. Thomas Eakins: His Life and Art. Abbeville, 1992. \n Johns, Elizabeth. Thomas Eakins: The Heroism of Modern Life. Princeton University Press, 1983. \n Kirkpatrick, Sidney. The Revenge of Thomas Eakins. Yale University Press, 2006.\n McHenry, Magaret. Thomas Eakins Who Painted. Privately printed, 1946.\n Sewell, Darrel. Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982. \n Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001. \n Siegl, Theodor. The Thomas Eakins Collection. Philadelphia Museum of Art, 1978. \n Wilmerding, John, et al. Thomas Eakins. Washington, DC: Smithsonian Institution Press, 1993. \n\n1899 paintings\n1900 paintings\nWilliams, Mary Adeline\nPaintings in the collection of the Philadelphia Museum of Art\nPaintings in the collection of the Art Institute of Chicago\nWilliams, Mary Adeline\nWilliams, Mary Adeline",
"Amelia C. Van Buren ( – 1942) was an American photographer. A noted portrait photographer, she was a student of Thomas Eakins, and the subject of his c. 1891 painting Miss Amelia Van Buren, regarded as one of his finest works.\n\nPennsylvania Academy of the Fine Arts\nVan Buren was born in Detroit, Michigan. Both her parents died sometime prior to 1884, when she began attending the Pennsylvania Academy of the Fine Arts. She had already been exhibiting her artwork in Detroit for at least four years prior to attending the Academy.\n\n \nHer talent soon led Eakins to tutor her personally, including controversial lessons using nude models, male and female. In 1885–86, several of Eakins's former art students (including Thomas Pollock Anshutz and Colin Campbell Cooper) conspired to have Eakins fired from the Pennsylvania Academy of Fine Arts. They approached the Academy's Committee on Instruction, and made numerous charges against Eakins. They alleged that Eakins had used female students, including Van Buren, as nude models. Another highly inflammatory charge was that Van Buren had asked Eakins a question regarding pelvic movements, which Eakins answered by removing his pants and demonstrating the movements. He later insisted that the episode was completely professional in nature. The committee left Eakins under the impression that the charges had been filed by Van Buren, who had moved to Detroit to recover from neurasthenia. That, however, was not the case, as she greatly respected Eakins and in years to come would defend him at every opportunity, as well as express pride in owning pieces of his artwork.\n\nAfter recovering, Van Buren returned to Philadelphia, where she continued in her studies under Eakins at the Art Students' League of Philadelphia. Van Buren and Eakins stayed in close contact for a number of years afterward. Three or four years after his dismissal, Eakins painted Van Buren in Miss Amelia Van Buren.\n\nPost-Academy\nThere is little information on Van Buren's life and professional career following her education at the Academy. No paintings by Van Buren are known to survive.\n\nShe entered into a Boston marriage with fellow student Eva Watson-Schütze. The two of them opened a studio and art gallery in Atlantic City, New Jersey, but Van Buren disliked having to make compromises in her aesthetic sense to sell any paintings, so she turned to photography instead. Both women were recognized as accomplished artists and exhibited together at the Camera Club of Pittsburgh in 1899, and Van Buren was noted for her portraits, once declaring her goal was to make portraits \"to stand with [those of] Sargent and Watts and the other masters\".\n\nIt is known that by 1900, when she sent some prints to Frances Benjamin Johnston, she had moved back to Detroit. She had the portrait of herself in her possession, likely a gift from the artist himself, which she sold to the Phillips Memorial Gallery in 1927, by which time she was living in North Carolina.\n\nIn the early 1930s Lloyd Goodrich, who was writing the first full-length biography of Eakins, wrote to Van Buren. However, she replied that she had no particular reminiscences of Eakins. Van Buren spent her later years in an artists' colony in Tryon, North Carolina, where she died in 1942.\n\nWorks by Van Buren\n\nNotes\n\nReferences\n\nFurther reading\n\nExternal links\n\n1856 births\n1942 deaths\nPhotographers from Michigan\nArtists from Detroit\nPennsylvania Academy of the Fine Arts alumni\nStudents of Thomas Eakins\nAmerican women photographers\nPeople from Tryon, North Carolina\n20th-century American photographers\n20th-century women photographers\n20th-century American women artists"
] |
[
"Thomas Eakins",
"Early career",
"When did Thomas Eakin's early career start?",
"1871;",
"What kind of works did Eakins produce in his early career?",
"Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,",
"What was his most popular early career work?",
"most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).",
"What is a Single Scull?",
"Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.",
"Why was this a popular painting?",
"Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\".",
"What other works did he create in his early career?",
"At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,",
"What were some of the titles of this series?",
"Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),",
"What did the critics think of his early works?",
"Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.",
"Was Eakins married?",
"In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.",
"Did Eakins do any artwork with Cromwell as the subject?",
"Elizabeth Crowell and her Dog (1874),"
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Are there any other interesting aspects about this article other than Elizabeth Crowell and her Dog?
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Thomas Eakins
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes. At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes. It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879. CANNOTANSWER
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in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten.
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Thomas Cowperthwait Eakins (; July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists.
For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons.
In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator.
No less important in Eakins' life was his work as a teacher. As an instructor he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation.
Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in nineteenth- and early-twentieth-century American art".
Life and work
Youth
Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, a writing master and calligraphy teacher of Scots-Irish ancestry. Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his chosen profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and the use of a grid to lay out a careful design, skills he later applied to his art.
He was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the premier public school for applied science and arts in the city, where he excelled in mechanical drawing. Thomas met fellow artist and lifelong friend, Charles Lewis Fussell in high school and they reunited to study at the Pennsylvania Academy of the Fine Arts. Thomas began at the academy in 1861 and later attended courses in anatomy and dissection at Jefferson Medical College from 1864 to 65. For a while, he followed his father's profession and was listed in city directories as a "writing teacher". His scientific interest in the human body led him to consider becoming a surgeon.
Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. While studying at the École des Beaux-Arts, he seems to have taken scant interest in the new Impressionist movement, nor was he impressed by what he perceived as the classical pretensions of the French Academy. A letter home to his father in 1868 made his aesthetic clear:
She [the female nude] is the most beautiful thing there is in the world except a naked man, but I never yet saw a study of one exhibited... It would be a godsend to see a fine man model painted in the studio with the bare walls, alongside of the smiling smirking goddesses of waxy complexion amidst the delicious arsenic green trees and gentle wax flowers & purling streams running melodious up & down the hills especially up. I hate affectation.
Already at age 24, "nudity and verity were linked with an unusual closeness in his mind." Yet his desire for truthfulness was more expansive, and the letters home to Philadelphia reveal a passion for realism that included, but was not limited to, the study of the figure.
A trip to Spain for six months confirmed his admiration for the realism of artists such as Diego Velázquez and Jusepe de Ribera. In Seville in 1869 he painted Carmelita Requeña, a portrait of a seven-year-old gypsy dancer more freely and colorfully painted than his Paris studies. That same year he attempted his first large oil painting, A Street Scene in Seville, wherein he first dealt with the complications of a scene observed outside the studio. Although he failed to matriculate in a formal degree program and had showed no works in the European salons, Eakins succeeded in absorbing the techniques and methods of French and Spanish masters, and he began to formulate his artistic vision which he demonstrated in his first major painting upon his return to America. "I shall seek to achieve my broad effect from the very beginning", he declared.
Early career
Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.
Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.
At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.
It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
Teaching and forced resignation from Academy
Eakins returned to the Pennsylvania Academy to teach in 1876 as a volunteer after the opening of the school's new Frank Furness designed building. He became a salaried professor in 1878, and rose to director in 1882. His teaching methods were controversial: there was no drawing from antique casts, and students received only a short study in charcoal, followed quickly by their introduction to painting, in order to grasp subjects in true color as soon as practical. He encouraged students to use photography as an aid to understanding anatomy and the study of motion, and disallowed prize competitions. Although there was no specialized vocational instruction, students with aspirations for using their school training for applied arts, such as illustration, lithography, and decoration, were as welcome as students interested in becoming portrait artists.
Most notable was his interest in the instruction of all aspects of the human figure, including anatomical study of the human and animal body, and surgical dissection; there were also rigorous courses in the fundamentals of form, and studies in perspective which involved mathematics. As an aid to the study of anatomy, plaster casts were made from dissections, duplicates of which were furnished to students. A similar study was made of the anatomy of horses; acknowledging Eakins' expertise, in 1891 his friend, the sculptor William Rudolf O'Donovan, asked him to collaborate on the commission to create bronze equestrian reliefs of Abraham Lincoln and Ulysses S. Grant, for the Soldiers' and Sailors' Arch in Grand Army Plaza in Brooklyn.
Owing to Eakins' devotion to working from life, the Academy's course of study was by the early 1880s the most "liberal and advanced in the world". Eakins believed in teaching by example and letting the students find their own way with only terse guidance. His students included painters, cartoonists, and illustrators such as Henry Ossawa Tanner, Thomas Pollock Anshutz, Edward Willis Redfield, Colin Campbell Cooper, Alice Barber Stephens, Frederick Judd Waugh, T. S. Sullivant and A. B. Frost.
He stated his teaching philosophy bluntly, "A teacher can do very little for a pupil & should only be thankful if he don't hinder him ... and the greater the master, mostly the less he can say."
He believed that women should "assume professional privileges" as would men. Life classes and dissection were segregated but women had access to male models (who were nude but wore loincloths).
The line between impartiality and questionable behavior was a thin one. When a female student, Amelia Van Buren, asked about the movement of the pelvis, Eakins invited her to his studio, where he undressed and "gave her the explanation as I could not have done by words only". Such incidents, coupled with the ambitions of his younger associates to oust him and take over the school themselves, created tensions between him and the Academy's board of directors. He was ultimately forced to resign in 1886, for removing the loincloth of a male model in a class where female students were present.
The forced resignation was a major setback for Eakins. His family was split, with his in-laws siding against him in public dispute. He struggled to protect his name against rumors and false charges, had bouts of ill health, and suffered a humiliation which he felt for the rest of his life. A drawing manual he had written and prepared illustrations for remained unfinished and unpublished during his lifetime. Eakins' popularity among the students was such that a number of them broke with the Academy and formed the Art Students' League of Philadelphia (1886–1893), where Eakins subsequently instructed. It was there that he met the student, Samuel Murray, who would become his protege and lifelong friend. He also lectured and taught at a number of other schools, including the Art Students League of New York, the National Academy of Design, Cooper Union, and the Art Students' Guild in Washington DC. Dismissed in March 1895 by the Drexel Institute in Philadelphia for again using a fully nude male model, he gradually withdrew from teaching by 1898.
Photography
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.
After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.
An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.
The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests.
Portraits
I will never have to give up painting, for even now I could paint heads good enough to make a living anywhere in America.
For Eakins, portraiture held little interest as a means of fashionable idealization or even simple verisimilitude. Instead, it provided the opportunity to reveal the character of an individual through the modeling of solid anatomical form. This meant that, notwithstanding his youthful optimism, Eakins would never be a commercially successful portrait painter, as few paid commissions came his way. But his total output of some two hundred and fifty portraits is characterized by "an uncompromising search for the unique human being".
Often this search for individuality required that the subject be painted in his own daily working environment. Eakins' Portrait of Professor Benjamin H. Rand (1874) was a prelude to what many consider his most important work.
In The Gross Clinic (1875), a renowned Philadelphia surgeon, Dr. Samuel D. Gross, is seen presiding over an operation to remove part of a diseased bone from a patient's thigh. Gross lectures in an amphitheater crowded with students at Jefferson Medical College. Eakins spent nearly a year on the painting, again choosing a novel subject, the discipline of modern surgery, in which Philadelphia was in the forefront. He initiated the project and may have had the goal of a grand work befitting a showing at the Centennial Exposition of 1876. Though rejected for the Art Gallery, the painting was shown on the centennial grounds at an exhibit of a U.S. Army Post Hospital. In sharp contrast, another Eakins submission, The Chess Players, was accepted by the Committee and was much admired at the Centennial Exhibition, and critically praised.
At 96 by 78 inches (240 × 200 cm), The Gross Clinic is one of the artist's largest works, and considered by some to be his greatest. Eakins' high expectations at the start of the project were recorded in a letter, "What elates me more is that I have just got a new picture blocked in and it is very far better than anything I have ever done. As I spoil things less and less in finishing I have the greatest hopes of this one" But if Eakins hoped to impress his home town with the picture, he was to be disappointed; public reaction to the painting of a realistic surgical incision and the resultant blood was ambivalent at best, and it was finally purchased by the college for the unimpressive sum of $200. Eakins borrowed it for subsequent exhibitions, where it drew strong reactions, such as that of the New York Daily Tribune, which both acknowledged and damned its powerful image, "but the more one praises it, the more one must condemn its admission to a gallery where men and
women of weak nerves must be compelled to look at it. For not to look it is impossible...No purpose is gained by this morbid exhibition, no lesson taught—the painter shows his skill and the spectators' gorge rises at it—that is all." The college now describes it thus: "Today the once maligned picture is celebrated as a great nineteenth-century medical history painting, featuring one of the most superb portraits in American art".
In 1876, Eakins completed a portrait of Dr. John Brinton, surgeon of the Philadelphia Hospital, and famed for his Civil War service. Done in a more informal setting than The Gross Clinic, it was a personal favorite of Eakins, and The Art Journal proclaimed "it is in every respect a more favorable example of this artist's abilities than his much-talked-of composition representing a dissecting room."
Other outstanding examples of his portraits include The Agnew Clinic (1889), Eakins' most important commission and largest painting, which depicted another eminent American surgeon, Dr. David Hayes Agnew, performing a mastectomy; The Dean's Roll Call (1899), featuring Dr. James W. Holland, and Professor Leslie W. Miller (1901), portraits of educators standing as if addressing an audience; a portrait of Frank Hamilton Cushing (c. 1895), in which the prominent ethnologist is seen performing an incantation at the Zuñi pueblo; Professor Henry A. Rowland (1897), a brilliant scientist whose study of spectroscopy revolutionized his field; Antiquated Music (1900), in which Mrs. William D. Frishmuth is shown seated amidst her collection of musical instruments; and The Concert Singer (1890–92), for which Eakins asked Weda Cook to sing "O rest in the Lord", so that he could study the muscles of her throat and mouth. To replicate the proper deployment of a baton, Eakins enlisted an orchestral conductor to pose for the hand seen in the lower left-hand corner of the painting.
Of Eakins' later portraits, many took as their subjects women who were friends or students. Unlike most portrayals of women at the time, they are devoid of glamor and idealization. For Portrait of Letitia Wilson Jordan (1888), Eakins painted the sitter wearing the same evening dress in which he had seen her at a party. She is a substantial presence, a vision quite different from the era's fashionable portraiture. So, too, his Portrait of Maud Cook (1895), where the obvious beauty of the subject is noted with "a stark objectivity".
The portrait of Miss Amelia Van Buren (c. 1890), a friend and former pupil, suggests the melancholy of a complex personality, and has been called "the finest of all American portraits". Even Susan Macdowell Eakins, a strong painter and former student who married Eakins in 1884, was not sentimentalized: despite its richness of color, The Artist's Wife and His Setter Dog (c. 1884–89) is a penetratingly candid portrait.
Some of his most vivid portraits resulted from a late series done for the Catholic clergy, which included paintings of a cardinal, archbishops, bishops, and monsignors. As usual, most of the sitters were engaged at Eakins' request, and were given the portraits when Eakins had completed them. In portraits of His Eminence Sebastiano Cardinal Martinelli (1902), Archbishop William Henry Elder (1903), and Monsignor James P. Turner (c. 1906), Eakins took advantage of the brilliant vestments of the offices to animate the compositions in a way not possible in his other male portraits.
Deeply affected by his dismissal from the Academy, Eakins focused his later career on portraiture, such as his 1905 Portrait of Professor William S. Forbes. His steadfast insistence on his own vision of realism, in addition to his notoriety from his school scandals, combined to hurt his income in later years. Even as he approached these portraits with the skill of a highly trained anatomist, what is most noteworthy is the intense psychological presence of his sitters. However, it was precisely for this reason that his portraits were often rejected by the sitters or their families. As a result, Eakins came to rely on his friends and family members to model for portraits. His portrait of Walt Whitman (1887–1888) was the poet's favorite.
The figure
Eakins' lifelong interest in the figure, nude or nearly so, took several thematic forms. The rowing paintings of the early 1870s constitute the first series of figure studies. In Eakins' largest picture on the subject, The Biglin Brothers Turning the Stake (1873), the muscular dynamism of the body is given its fullest treatment.
In the 1877 painting William Rush and His Model, he painted the female nude as integral to a historical subject, even though there is no evidence that the model who posed for Rush did so in the nude. The Centennial Exhibition of 1876 helped foster a revival in interest in Colonial America and Eakins participated with an ambitious project employing oil studies, wax and wood models, and finally the portrait in 1877. William Rush was a celebrated Colonial sculptor and ship carver, a revered example of an artist-citizen who figured prominently in Philadelphia civic life, and a founder of the Pennsylvania Academy of Fine Arts where Eakins had started teaching.
Despite his sincerely depicted reverence for Rush, Eakins' treatment of the human body once again drew criticism. This time it was the nude model and her heaped-up clothes depicted front and center, with Rush relegated to the deep shadows in the left background, that stirred dissatisfaction. Nonetheless, Eakins found a subject that referenced his native city and an earlier Philadelphia artist, and allowed for an assay on the female nude seen from behind.
When he returned to the subject many years later, the narrative became more personal: In William Rush and His Model (1908), gone are the chaperon and detailed interior of the earlier work. The professional distance between sculptor and model has been eliminated, and the relationship has become intimate. In one version of the painting from that year, the nude is seen from the front, being helped down from the model stand by an artist who bears a strong resemblance to Eakins.
The Swimming Hole (1884–85) features Eakins' finest studies of the nude, in his most successfully constructed outdoor picture. The figures are those of his friends and students, and include a self-portrait. Although there are photographs by Eakins which relate to the painting, the picture's powerful pyramidal composition and sculptural conception of the individual bodies are completely distinctive pictorial resolutions. The work was painted on commission, but was refused.
In the late 1890s Eakins returned to the male figure, this time in a more urban setting. Taking the Count (1896), a painting of a prizefight, was his second largest canvas, but not his most successful composition. The same may be said of Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all the principal figures were posed by models re-enacting what had been an actual fight. Salutat (1898), a frieze-like composition in which the main figure is isolated, "is one of Eakins' finest achievements in figure-painting."
Although Eakins was agnostic, he painted The Crucifixion in 1880. Art historian Akela Reason says
Eakins's selection of this subject has puzzled some art historians who, unable to reconcile what appears to be an anomalous religious image by a reputedly agnostic artist, have related it solely to Eakins's desire for realism, thus divesting the painting of its religious content. Lloyd Goodrich, for example, considered this illustration of Christ's suffering completely devoid of "religious sentiment" and suggested that Eakins intended it simply as a realist study of the male nude body. As a result, art historians have frequently associated 'Crucifixion' (like Swimming) with Eakins's strong interest in anatomy and the nude.
In his later years Eakins persistently asked his female portrait models to pose in the nude, a practice which would have been all but prohibited in conventional Philadelphia society. Inevitably, his desires were frustrated.
Personal life and marriage
The nature of Eakins' sexuality and its impact on his art is a matter of intense scholarly debate. Strong circumstantial evidence points to discussion during Eakins's lifetime that he had homosexual leanings, and there is little doubt that he was attracted to men, as evidenced in his photography, and three major paintings where male buttocks are a focal point: The Gross Clinic, Salutat, and The Swimming Hole. The latter, in which Eakins appears, is increasingly seen as sensuous and autobiographical.
Until recently, major Eakins scholars persistently denied he was homosexual, and such discussion was marginalized. While there is still no consensus, today discussion of homoerotic desire plays a large role in Eakins scholarship. The discovery of a large trove of Eakins' personal papers in 1984 has also driven reassessment of his life.
Eakins met Emily Sartain, daughter of John Sartain, while studying at the academy. Their romance foundered after Eakins moved to Paris to study, and she accused him of immorality. It is likely Eakins had told her of frequenting places where prostitutes assembled. The son of Eakins' physician also reported that Eakins had been "very loose sexually—went to France, where there are no morals, and the french morality suited him to a T".
In 1884, at age 40, Eakins married Susan Hannah Macdowell, the daughter of a Philadelphia engraver. Two years earlier Eakins' sister Margaret, who had acted as his secretary and personal servant, had died of typhoid. It has been suggested that Eakins married to replace her. Macdowell was 25 when Eakins met her at the Hazeltine Gallery where The Gross Clinic was being exhibited in 1875. Unlike many, she was impressed by the controversial painting and she decided to study with him at the Academy, which she attended for six years, adopting a sober, realistic style similar to her teacher's. Macdowell was an outstanding student and winner of the Mary Smith Prize for the best painting by a matriculating woman artist. During their childless marriage, she painted only sporadically and spent most of her time supporting her husband's career, entertaining guests and students, and faithfully backing him in his difficult times with the academy, even when some members of her family aligned against Eakins. She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art. She also posed nude for many of his photos and took images of him. Both had separate studios in their home. After Eakins' death in 1916, she returned to painting, adding considerably to her output right up to the 1930s, in a style that became warmer, looser, and brighter in tone. She died in 1938. Thirty-five years after her death, in 1973, she had her first one-woman exhibition at the Pennsylvania Academy of Fine Arts.
In the latter years of his life, Eakins' constant companion was the handsome sculptor Samuel Murray, who shared his interest in boxing and bicycling. The evidence suggests the relationship was more emotionally important to Eakins than that with his wife.
Throughout his life, Eakins appears to have been drawn to those who were mentally vulnerable and then preyed upon those weaknesses. Several of his students ended their lives in insanity.
Death and legacy
Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia.
Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars.
In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics.
Eakins' attitude toward realism in painting, and his desire to explore the heart of American life proved influential. He taught hundreds of students, among them his future wife Susan Macdowell, African-American painter Henry Ossawa Tanner, and Thomas Anshutz, who taught, in turn, Robert Henri, George Luks, John Sloan, and Everett Shinn, future members of the Ashcan School, and other realists and artistic heirs to Eakins' philosophy. Though his is not a household name, and though during his lifetime Eakins struggled to make a living from his work, today he is regarded as one of the most important American artists of any period.
Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students.
Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior.
Disposition of estate
Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student. For more details, see the article "List of works by Thomas Eakins".
On November 11, 2006, the Board of Trustees at Thomas Jefferson University agreed to sell The Gross Clinic to the National Gallery of Art in Washington DC, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas for a record $68,000,000, the highest price for an Eakins painting as well as a record price for an individual American-made portrait. On December 21, 2006, a group of donors agreed to match the price to keep the painting in Philadelphia. It is displayed alternately at the Philadelphia Museum of Art and at the Pennsylvania Academy of Fine Arts.
Assessment
On October 29, 1917, Robert Henri wrote an open letter to the Art Students League about Eakins:
In 1982, in his two-volume Eakins biography, art historian Lloyd Goodrich wrote:
In spite of limitations—and what artist is free of them?—Eakins' achievement was monumental. He was our first major painter to accept completely the realities of contemporary urban America, and from them to create powerful, profound art... In portraiture alone Eakins was the strongest American painter since Copley, with equal substance and power, and added penetration, depth, and subtlety.
John Canaday, art critic for The New York Times, wrote in 1964:
As a supreme realist, Eakins appeared heavy and vulgar to a public that thought of art, and culture in general, largely in terms of a graceful sentimentality. Today he seems to us to have recorded his fellow Americans with a perception that was often as tender as it was vigorous, and to have preserved for us the essence of an American life which, indeed, he did not idealize—because it seemed to him beautiful beyond the necessity of idealization.
See also
List of painters by name beginning with "E"
List of American artists before 1900
List of people from Philadelphia
Visual art of the United States
Notes
Further reading
Adams, Henry: Eakins Revealed: The Secret Life of an American Artist. Oxford University Press, 2005. .
Berger, Martin: Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. University of California Press, 2000. .
Brown, Dotty: Boathouse Row: Waves of Change in the Birthplace of American Rowing. Temple University Press, 2017. .
Canaday, John: Thomas Eakins; "Familiar truths in clear and beautiful language", Horizon. Volume VI, Number 4, Autumn 1964.
Dacey, Philip: The Mystery of Max Schmitt, Poems on the Life of Thomas Eakins". Turning Point Press, 2004.
Doyle, Jennifer: "Sex, Scandal, and 'The Gross Clinic'". Representations 68 (Fall 1999): 1–33.
Goodrich, Lloyd: Thomas Eakins. Harvard University Press, 1982.
Homer, William Innes: Thomas Eakins: His Life and Art. Abbeville Press, 1992.
Johns, Elizabeth: Thomas Eakins. Princeton University Press, 1991.
Kirkpatrick, Sidney: The Revenge of Thomas Eakins. Yale University Press, 2006. .
Lubin, David: Acts of Portrayal: Eakins, Sargeant, James. Yale University Press, 1985.
Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001.
Sewell, Darrel: Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982.
Sullivan, Mark W. "Thomas Eakins and His Portrait of Father Fedigan," Records of the American Catholic Historical Society of Philadelphia, Vol. 109, No. 3-4 (Fall-Winter 1998), pp. 1–23.
Updike, John: Still Looking: Essays on American Art. Alfred A. Knopf, 2005.
Weinberg, H. Barbara: Thomas Eakins and the Metropolitan Museum of Art. The Metropolitan Museum of Art, 1994. Publication no: 885-660
Werbel, Amy: Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia. Yale University Press, 2007. .
The Paris Letters of Thomas Eakins. Edited by William Innes Homer. Princeton, Princeton University Press, 2009,
Braddock, Alan: Thomas Eakins and The Cultures of Modernity. University of California Press, 2009.
(see index)
External links
Thomaseakins.org, 148 works by Thomas Eakins
Thomas Eakins Exhibition at The Metropolitan Museum of Art
Thomas Eakins letters online at the Smithsonian Archives of American Art
Selections from the Seymour Adelman collection, 1845–1958 features a collection of documents relating to Eakins and his family from the Archives of American Art
Works by Thomas Eakins at Bryn Mawr College
Documentary film broadcast on PBS network in 2002
1844 births
1916 deaths
19th-century American painters
American male painters
20th-century American painters
American agnostics
American people of Dutch descent
American people of English descent
American people of Scotch-Irish descent
Central High School (Philadelphia) alumni
Drexel University faculty
Gilded Age
Realist painters
Artists from Philadelphia
Art Students League of New York faculty
Pennsylvania Academy of the Fine Arts alumni
Pennsylvania Academy of the Fine Arts faculty
American alumni of the École des Beaux-Arts
American expatriates in France
Schuylkill River
National Academy of Design members
American portrait painters
20th-century American sculptors
19th-century American sculptors
19th-century male artists
American male sculptors
Burials at The Woodlands Cemetery
Painters from Pennsylvania
Sculptors from Pennsylvania
Nude photography
Photographers from Pennsylvania
19th-century American photographers
20th-century American photographers
Sculptors from New York (state)
Olympic competitors in art competitions
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[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
] |
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"Paris Barclay",
"Music video career"
] |
C_1ea811a7751f406c9a985784066f8853_1
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When did Barclay start his music video career?
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When did Barclay start the music video career?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| false |
[
"Édouard Ruault (26 January 1921 – 13 May 2005), better known as Eddie Barclay, was a French music producer whose singers included Jacques Brel, Dalida and Charles Aznavour. He founded record label Barclay.\n\nLife\nRuault, the son of a café waiter and a post office worker, was born in Paris on January 26, 1921. He spent much of his early childhood with his grandmother in Taverny (in today's Val-d'Oise). His parents bought the Café de la Poste bar in the middle of Paris while he was a child and at the age of 15 he left school to work in the café. He had not enjoyed his studies but he taught himself music and piano. He particularly liked American jazz and embraced the music of Fats Waller. He often visited the Hot Club de France to hear the quintet of Stéphane Grappelli and Django Reinhardt.\n\nHe became a pianist at \"L'Étape\" club in rue Godot-de-Mauroy, Paris, where his half-hour sets alternated with the young Louis de Funès, also at the start of his career. When the German occupiers of France banned jazz, he held regular social gatherings with other zazous at his home to listen to jazz records and illegal radio stations. Pierre-Louis Guérin employed him as a pianist at Guérin's first nightclub, \"Le Club\".\n\nAfter the war, Eduard Ruault changed his name to Eddie Barclay and opened \"Eddie's Club\" in Paris. In 1947 he started a band which featured his wife, Nicole, on vocals under the name Eve Williams. Barclay and his wife started \"Blue Star Records\", using their apartment to store 78 rpm discs, with Barclay delivering them himself. Musicians on the label included Don Byas and Eddie Constantine. Barclay wrote songs with Charles Aznavour and Boris Vian, and with Vian he edited Jazz magazine.\n\nIn 1952 Alan Morrison, a visitor to Barclay's club, had invited him to visit the US to see the new recording technology that enabled the production of 45s and LPs. In 1955 Barclay agreed to manufacture and distribute Mercury Records in Europe. He took 60 masters to Pathé-Marconi's Paris factory and began promoting the new microgroove format to the French market. As well as releasing US records by the likes of Ray Charles, Dizzy Gillespie, Sammy Davis, Jr. and Duke Ellington, Barclay engaged Gerhard Lehner, a German sound engineer, to make original recordings in Avenue Hoche, Paris. After selling 1.5 million copies of the Platters' \"Only You\", Barclay Records rose to become the top music production company in France. His success led to his nickname as \"empereur du microsillon\" (king of microgroove).\n\nHis francophone discoveries included the singers Hugues Aufray, Michel Delpech, Dalida (whom he launched in 1956), Mireille Mathieu, Claude Nougaro, and Eddy Mitchell. His artistes delighted in the artistic freedom that he afforded them, and in the trust that he placed in their judgement.\n\nAznavour joined the Barclay stable in 1956 even though they had been friends for over a decade by that time. They collaborated on some songwriting including Quand tu m'embrasses (When You Hold Me). Jacques Brel, the Belgian poet-singer who stayed with Barclay until his death in 1978, began his long association with Barclay in 1962, recording hits including \"Le plat Pays\" (The Flat Country), and \"Les Bigotes\" (The Holier-than-Thous) on the Barclay label. Brel left Philips Records to join Barclay as did Juliette Gréco. Philips threatened to litigate but the matter was settled out of court and Barclay released Johnny Hallyday to Philips as part of the settlement. Anarchist poet Léo Ferré was another established singer-songwriter who joined Barclay Records to great mutual benefit.\n\nBarclay's nose for success was not infallible, however. He refused to sign Bob Marley, ended his collaboration with Pierre Perret and dropped Michel Sardou, four years after discovering him, by telling him \"My little old fellow, write songs if you want, but especially do not sing them. You do not have any talent!\"\n\nAt the beginning of the eighties, recovering from cancer of the throat, which had been diagnosed in 1979, he sold 80% of his label to PolyGram, and retired to Saint-Tropez, where he had spent 25 years building a house called Maison du Cap, Ramatuelle, since Brigitte Bardot persuaded him to buy land there in the late 1950s. His trademark was a white suit, and his Saint-Tropez parties at which all the guests wore white became huge events for the French media. He emerged briefly from retirement with a new record label but it was not the success he wished. The house was bought by Amanda Eliasch and Johan Eliasch and is now owned by Johan Eliasch alone.\n\nIn March 1994 Barclay underwent quadruple bypass surgery after a heart attack. On April 29, 2005 he was admitted to the Ambroise-Paré hospital in Paris with urinary and pulmonary infections. He died there during the night of May 12, 2005 and was pronounced dead in the morning. He has one son, Guillaume, from his third marriage to Marie-Christine Steinberg.\n\nWorks\nBarclay transcribed and interpreted early jazz numbers. He co-wrote the songs Quand tu m'embrasses with Charles Aznavour, and Le rock de Monsieur Failair with Boris Vian.\n\nHe wrote the original soundtracks for several films, including Bob le flambeur (1955, English title: Bob the Gambler; one translation is \"Bob the high roller\") directed by Jean-Pierre Melville.\n\nIn 1988 he published his autobiography.\n\nWives\nBarclay was notorious for his many wives to the extent that some journalists referred to him as 'Bluebeard'. At one of his later weddings, the officiating mayor of Neuilly said: \"Ah, good day, Monsieur Barclay, what a pleasure to see you yet again.\" His nine wives were:\n Michele (2 years) married in 1945\n Nicole (14 years), jazz singer under the name of Eve Williams\n Marie-Christine (4 years)\n Béatrice (1.5 years) - she subsequently married Guy Marchand\n Michele (briefly)\n Danielle Mauroy (1 year)\n Cathy (3 years)\n Caroline (11 years) married in 1988\n Tiara, married in June 2002 on the island of Moorea.\n\nSee also\n Dalida\n Chaque jour a son secret (1958, film)\n\nReferences\n\nOther sources\n Associated Press release 12:34 May 14, 2005.\n Sleeve notes, Charles Aznavour: Je M'Voyais Deja CD (EMI, 1995).\n Barclay, Eddie. Que la Fête Continue (Paris: Robert Laffont, 1988)\n O'Connor, Patrick. 'Obituary: Eddie Barclay', The Guardian, May 16, 2005\n\nExternal links\n \n\n1921 births\n2005 deaths\nMusicians from Paris\nFrench record producers\nFrench jazz pianists\n20th-century French male pianists\nMonument Records artists\nDalida\nBarclay (record label)\nFrench male jazz musicians",
"Leah Barclay (born 1985, Adelaide, Australia) is an Australian sound artist, composer and researcher known for acoustic ecology, environmental field recording, sound walks. She is the president of the Australian Forum for Acoustic Ecology, and is currently a research fellow at the Queensland Conservatorium Research Centre. She is a multi-talented sound artist, sound activist and composer, raising environmental awareness through sound.\n\nLeah Barclay organised the Sonic Environments Conference in 2016 hosted by The Queensland Conservatorium of Music in Brisbane, Australia.\n\nLeah Barclay was part of the 100 Ways to Listen component of the World Science Festival 2017, where she ran Augmented Reality Soundwalks. Numerous sound artists and electronic musicians from the Queensland Conservatorium performed and did demonstrations as part of the 100 Ways to Listen component of the World Science Festival 2017.\n\nBarclay primarily explores Biosphere Soundscapes and River Listening and raises environmental awareness utilising field recordings of endangered ecosystems as a form of acoustic ecology in her compositions and sound walks.\n\nLeah Barclay organised the 100 Ways to Listen along with other prominent sound artists, performers and researchers, including Vanessa Tomlinson, John Ferguson and Erik Griswald, creating sonic playgrounds and installations for 100 Ways to Listen in 2017, along with student led demonstrations and performances from the Queensland Conservatorium of Music Technology department. At the 2021 APRA Art Music Awards she won an Award for Excellence in Experimental Music for Listening in the Wild (shared with Lyndon Davis and Tricia King).\n\nBiography \nBarclay is the president of the Australian Forum for Acoustic Ecology, currently a research fellow at the Queensland Conservatorium Research Centre.\n\nLeah Barclay organised the Sonic Environments Conference in 2016 hosted by the Queensland Conservatorium of Music in Brisbane, Australia.\n\nAn academic at the Queensland Conservatorium of Music Research Centre specialising in the fields of: \n Environmental sciences\n Ecological Impacts of Climate Change\n Electronic Media Art\n Music Composition\n\nCareer \nLeah Barclay primarily explores Biosphere Soundscapes and River Listening and raises environmental awareness utilising field recordings of endangered eco systems as a form of acoustic ecology in her compositions and sound walks.\n\nWorks \n Riverlistening\n Biosphere listening\n 100 Ways to Listen Augmented Reality Soundwalks\n\nReferences \n\nLiving people\nAPRA Award winners\nAustralian women artists\n1985 births"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor"
] |
C_1ea811a7751f406c9a985784066f8853_1
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How well did his music video career do initially?
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How well did Paris Barclay's music video career do initially?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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Most notably, he created eight videos for LL Cool J,
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| true |
[
"Did You Know may refer to:\n\nDid You Know...?, an advertising campaign for GEICO\n\"Did You Know\", 2016 single by Pauly D\n\nSee also\n Do You Know (disambiguation)\n DYK (disambiguation)\n \"How Did You Know\", a single by electronic dance music producer and remixer Kurtis Mantronik\n \"Mary, Did You Know?\", a Christmas song with lyrics written by Mark Lowry and music written by Buddy Greene\n Did You Know Gaming?, a video game–focused blog about video game related trivia and facts\n Did You Know People Can Fly?, the debut album by Kaddisfly",
"\"How Do I Breathe\" is a song recorded by American singer Mario. It is the first single from his third studio album Go. The single was released on May 15, 2007. It was produced by Norwegian production team Stargate. On the issue date of July 7, 2007, the single debuted on the Billboard Hot 100 at number 91. \"How Do I Breathe\" also debuted on the UK Singles Chart at number 30 on download sales alone, the day before the physical release of the song. It also became Mario's last charting single in the UK. The song also peaked at number 18 on the Billboard Hot R&B/Hip-Hop Songs chart. The official remix of the song features Fabolous and the second official remix features Cassidy. A rare third one features both artists and switches between beats. The song was co-written by Mario.\n\nWriting and recording\nMario met Stargate, the producers from Norway. They met when Mario was overseas touring, and they talked about producing. They were up-and-coming at the time. Mario frequently heard their music on the radio and would later say he thought, \"Wow, I really like their music. These guys are classic.\" Mario and Stargate made two songs, which they collaborated on with Ne-Yo, but they did not make the cut. Then they did two more songs, which Mario co-wrote, one of which was \"How Do I Breathe\". Mario said: \"The truth is that I felt like the track already had a story to tell; but that there had to be a certain flow over the record. I had to show some vulnerability, and that is what the record is about. It's about being vulnerable and knowing that you lost something that so essential to your life. I'd say it's about 75% true to life, and the rest is just creative writing.\"\n\nCritical reception\nMark Edward Nero of About.com says \"The track isn't particularly groundbreaking, but it has a simple charm, in a sort of Ne-Yo meets Toni Braxton kind of way\".\n\nAaron Fields of KSTW.com stated: \"First single off the album, yet didn't have the success like \"Let me love you\" did. I remember thinking he was definitely back when I heard this song. I'm not sure why this song didn't get more attention as it is one of the better songs done by him, nevertheless I probably would have picked this for the first single as well. I still bump this one in the car.\"\n\nMusic video\nThe video was directed by Melina and premiered on BET's Access Granted on May 23, 2007. One scene where Mario is dressed in a white t-shirt while singing in smoke, is similar to the scene in Kanye West's video \"Touch the Sky\". After its premiere, \"How Do I Breathe\" received heavy airplay on BET's music video countdown show 106 & Park. It also appeared at number 87 on BET's Notarized: Top 100 Videos of 2007 countdown.\n\nVariations of \"How Do I Breathe\"\nAfter the song was released, there were two different variations that were available. The official version provided by Sony BMG, which was included within the official music video, has different lyrics than the one obtained via a peer-to-peer file sharing network. The specific difference in the lyrics is seen within the bridge of the song near the end.\n\nIn the official version, the bridge's lyrics are as follows:\"Ooh, I should've brought my love home, girl.And baby, I ain't perfect you know.The grind has got a tight hold.Girl, come back to me ... Cause girl you made it hard to breathe...When you're not with me...\"\nIn the other version obtained via a file sharing network, the bridge's lyrics are:\"Ooh, I can't get over you, no.Baby I don't wanna let go.Girl, you need to come home.Back to me ... Cause girl you made it hard to breathe...When you're not with me...\"\n\nThe other version obtained over a file sharing network also features a shout out to former NFL running back Shaun Alexander by an untold DJ near the end of the track.\n\nIn other media\nOn July 16, 2008, Kourtni Lind and Matt Dorame from the US television reality program and dance competition So You Think You Can Dance danced to \"How Do I Breathe\" as the part of the competition.\n\nTrack listing\nUK CD:\n \"How Do I Breathe\" (radio edit)\n \"How Do I Breathe\" (Full Phat remix featuring Rhymefest)\n\nPromo CD:\n \"How Do I Breathe\" (radio edit)\n \"How Do I Breathe\" (instrumental)\n\nHow Do I Breathe, Pt. 2:\n \"How Do I Breathe\" (radio edit)\n \"How Do I Breathe\" (Full Phat Remix featuring Rhymefest)\n \"How Do I Breathe\" (Allister Whitehead Remix)\n \"How Do I Breathe\" (video)\n\nCD single\n \"How Do I Breathe\" (radio edit) – 3:38\n \"How Do I Breathe\" (instrumental) – 3:38\n \"How Do I Breathe\" (call out hook) – 0:10\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nExternal links\n\n2006 songs\n2007 singles\nMario (American singer) songs\nJ Records singles\nMusic videos directed by Melina Matsoukas\nSong recordings produced by Stargate (record producers)\nSongs written by Tor Erik Hermansen\nSongs written by Mikkel Storleer Eriksen"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,"
] |
C_1ea811a7751f406c9a985784066f8853_1
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Who else did he create videos for?
| 3 |
Who else did Paris Barclay create videos for besides LL Cool J?
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Paris Barclay
|
Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| true |
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"Jacob Maymudes is an American director and visual effects supervisor. He has directed music videos for Jewel, and has supervised and help create visual effects for numerous music videos, commercials and feature films.\n\nSelected music video credits\n Jewel - \"Stephenville TX\"\n\nReferences\n \n Rolling Stone Magazine\n Publishers Weekly\n\nAmerican music video directors\nLiving people\nPlace of birth missing (living people)\n1979 births",
"Robert Else (17 November 1876 – 16 September 1955) was an English first-class cricketer who played for Derbyshire in 1901 and 1903.\n\nElse was born at Lea, Holloway, Derbyshire, the son of John Else and his wife Henrietta Lowe. His father was a bobbin maker and in 1881 they were all living with his grandparents at the Old Hat Factory in Wirksworth. Else made his debut for Derbyshire in May 1901 against Surrey, when his scores were 1 and 2. He played again that season against the South Africans when he opened the batting scoring a duck in the first innings and surviving the whole of the second innings for 6 not out. He did not play again until July 1903 when against London County he took a wicket and made his top score of 28. He played his last two matches in 1903 and made little impression in them.\n\nElse was a left-hand batsman and played ten innings in five first-class matches with an average of 7.3 and a top score of 28. He bowled fifteen overs and took 1 first-class wicket for 61 runs in total.\n\nElse died at Broomhill, Sheffield, Yorkshire at the age of 78.\n\nReferences\n\n1876 births\n1955 deaths\nDerbyshire cricketers\nEnglish cricketers\nPeople from Dethick, Lea and Holloway"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,",
"Who else did he create videos for?",
"House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others."
] |
C_1ea811a7751f406c9a985784066f8853_1
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Where all of his music videos related to movies?
| 4 |
Where all of Paris Barclay's music videos related to movies?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| true |
[
"This is a list of the most-viewed Indian music videos on YouTube. Phonics Song with Two Words from children's channel ChuChu TV is the most viewed video in India and is the 9th most viewed YouTube video in the world. \"Why This Kolaveri Di\" become the first Indian music video to cross 100 million views. Dheere Dheere Se by Yo Yo Honey Singh become the first Indian music video to cross 200 million views . \"Swag Se Swagat\" became the first Indian music video to cross 500 million views on YouTube. Humpty the train on a fruits ride by Kiddiestv Hindi became the first Hindi video on YouTube to cross 1 Billion views on 26 December 2019 and is the most viewed Hindi video on YouTube. Chotu ke golgappe uploaded by khandeshi movies is the first and only non musical and non children video to cross 1 billion view mark in India and world. It is also the first and only comedy skit video in India and world to cross 1 billion view mark.\n\nAs of 1 December 2021, 37 videos have exceeded 1 Billion views.\n\nTop videos\nThe following table lists the top 30 most-viewed videos on YouTube, with each total rounded to the nearest 10 million views, uploader and upload date.\n\nVideos with more than a billion views\n\nThe following table lists the Indian videos on YouTube with views more than a billion views, with each total rounded to the nearest 10 million views, uploader and upload date.\n\nSee also \n Indian pop\n List of most-viewed YouTube videos\nMusic of Bollywood\n\nReferences \n\nYouTube-related lists\nIndia music-related lists\nMusic videos\nIndian Youtube videos",
"Xbills Ebenezer (born Annor Ebenezer) is a Ghanaian music video director, and filmmaker. He is the founder and CEO of Xpress Philms, a production company that specialises in production of film, television, and music video. Xbills has directed music videos for recording artists across an array of genres, including Bisa Kdei, Shatta Wale, Becca, Kofi Kinaata, Edem, Eazzy, Gurunkz,VVIP, Obrafour, Dobble, AK Songstress, Tic Tac, Sarkodie, Jupiter,and more.\n\nLife and career \nEbenezxar was born to Miss Juliet Gladys Osafo and Mr Fred K. Annor on 17 April 1987, in a town called Kukurantumi-Akim in the Eastern Region of Ghana and his early days in school began at Asafo-Akim and later on headed to the Ofori Panin Senior High School where he studied Visual Arts. At Ofori Panin Senior High School, Xbills Ebenezer won the Best Visual Arts student in his class for a couple of times. He is the fifth born of his parents among six children, hence, the rod was never spared anytime he flawed. Inspired by the colorful and artistic nature of the Michael Jackson culture during his high school days, he began singing to beats and miming to songs as well as dreaming to create fictional movies in the future which could be as wild as, and more horrible than those of Michael Jackson. Sometimes at his young age, he would sketch his movies on a piece of paper in pictorial form and anyone who read it understood it perfectly from beginning to end with equally good literary elements in them. He started full-time music video production in 1997 and his breakthrough video was Gurunkz \"Lapaz Toyota\" which was shot in 2011.\n\nMusic videos directed\nThis is a list of music videos directed by Xbills Ebenezar. 37 music videos are currently listed here.\n\nReferences\n\nExternal links\n \n \n at Fruttiboxx Africa.\n Fimfim ft Kesse rapperman\n\nLiving people\n1987 births\nGhanaian music video directors"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,",
"Who else did he create videos for?",
"House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.",
"Where all of his music videos related to movies?",
"In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for \"Take It\"."
] |
C_1ea811a7751f406c9a985784066f8853_1
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Why did he take such a long break?
| 5 |
Why did Paris Barclay take such a long break?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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CANNOTANSWER
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| false |
[
"\"Tell Me Why (The Riddle)\" is a song released by Paul van Dyk in collaboration with English indie dance band Saint Etienne, with Sarah Cracknell of the group on vocals. A music video (filmed 28 May 2000) was made along with the song that can be found on the Global DVD.\n\nPeaking at number seven on the UK Singles Chart, it remains the highest-charting single on the chart for both artists to date.\n\nTrack listing\n\nCD: Deviant / DVNT36CDS (UK)\n\"Tell Me Why (The Riddle)\" (Radio Mix) - 3:49\n\"Tell Me Why (The Riddle)\" (PvD Mix) - 8:48\n\"Tell Me Why (The Riddle)\" (Take a Break) - 6:25\n\nCD: Deviant / DVNT36CDR (UK)\n \"Tell Me Why (The Riddle)\" (Vandit Mix) - 7:50\n\"Tell Me Why (The Riddle)\" (Club Mix) - 4:52\n\"Tell Me Why (The Riddle)\" (Original Mix) - 6:51\n\nCD: Vandit / 156 871-2 (Germany)\n\"Tell Me Why (The Riddle)\" (Radio Mix) - 3:49\n\"Tell Me Why (The Riddle)\" (Vandit Mix) - 7:49\n\"Tell Me Why (The Riddle)\" (Club Mix) - 4:52\n\"Tell Me Why (The Riddle)\" (PvD Mix) - 8:20\n\"Tell Me Why (The Riddle)\" (Take a Break) - 6:09\n\"Tell Me Why (The Riddle)\" (Original Mix) - 8:07\n\nalso released in the US (Mute / 9129-2)\n\nCD: Avex / AVTCDS-253 (Hong Kong)\n\"Tell Me Why (The Riddle)\" (Radio Mix) - 3:49\n\"Tell Me Why (The Riddle)\" (Vandit Mix) - 8:03\n\"Tell Me Why (The Riddle)\" (PvD Mix) - 9:26\n\"Tell Me Why (The Riddle)\" (Take a Break) - 6:39\n\"Tell Me Why (The Riddle)\" (Club Mix) - 5:54\n\"Tell Me Why (The Riddle)\" (Original Mix) - 8:44\n\"Tell Me Why (The Riddle)\" (Vandit Mix) - 7:49\n\"Tell Me Why (The Riddle)\" (Club Mix) - 4:52\n\"Tell Me Why (The Riddle)\" (PvD Mix) - 8:20\n\"Tell Me Why (The Riddle)\" (Take a Break) - 6:09\n\"Tell Me Why (The Riddle)\" (Original Mix) - 8:07\n\n12\": Deviant / DVNT36X (UK)\n\"Tell Me Why (The Riddle)\" (Vandit Mix) [A] - 8:03\n\"Tell Me Why (The Riddle)\" (Club Mix) [B1] - 5:53\n\"Tell Me Why (The Riddle)\" (Club Dub) [B2] - 5:53\n\n12\": Deviant / DVNT36XR (UK)\n\n\"Tell Me Why (The Riddle)\" (Original Mix) [A] - 8:43\n\"Tell Me Why (The Riddle)\" (Take a Break) [B1] - 7:31\n\"Tell Me Why (The Riddle)\" (Take a Break Dub) [B2] - 7:15\n\n12\": Deviant / DVNT36XP (UK)\n\n\"Tell Me Why (The Riddle)\" (Original Mix) [A] - 8:43\n\"Tell Me Why (The Riddle)\" (PvD Mix) [B] - 9:25\n\n12\": Deviant / DVNT36X(P) (UK)\n\n\"Tell Me Why (The Riddle)\" (PvD Mix) [A] - 9:25\n\"Tell Me Why (The Riddle)\" (Original Mix) [AA] - 8:07\n\n12\": Deviant / DVNT36XPV2 (UK)\n\n\"Tell Me Why (The Riddle)\" (Original Mix) [A] - 8:43\n\n2x12\": Vandit / Vandit 003 (Germany)\n\n\"Tell Me Why (The Riddle)\" (Vandit Mix) [A] - 8:03\n\"Tell Me Why (The Riddle)\" (PvD Mix) [B] - 9:25\n\"Tell Me Why (The Riddle)\" (Take a Break) [C1] - 7:31\n\"Tell Me Why (The Riddle)\" (Club Mix) [C2] - 5:53\n\"Tell Me Why (The Riddle)\" (Original Mix) [D1] - 8:43\n\"Tell Me Why (The Riddle)\" (Take a Break Dub) [D2] - 7:15\n\nalso released in the US (Mute / 9129-0)\n\nCharts\n\nReferences\n\n2000 singles\nPaul van Dyk songs\nSaint Etienne (band) songs\nSongs written by Bob Stanley (musician)\nSongs written by Pete Wiggs\nSongs written by Paul van Dyk\nSongs written by Sarah Cracknell\n2000 songs\nMute Records singles",
"Long Live King George is a 1965 country music album released by George Jones. The album was long thought to be a studio release; however, it is a late Starday Records compilation of Jones recordings throughout the mid- to late 1950s.\n\nThe album features many of Jones' early songs, including many of his earliest hits, \"You Gotta Be My Baby\" from 1956, \"Seasons of My Heart\" from 1955, and Jones' first chart single \"Why Baby Why\" in 1955. It lists a track from his third collaboration attempt in 1957 with Virginia Spurlock titled: \"No, No, Never\".\n\nBackground and composition\nIn late 1956, there were shakeups in some of the top management jobs in Nashville and part of this realignment saw Starday Records, an independent country music label founded in Houston by Jones's producer and mentor H.W. \"Pappy\" Daily and Jack Starns, absorbed into Mercury Records. As Colin Escott writes in the liner notes to the Jones retrospective Cup of Loneliness: The Classic Mercury Years, Daily and Starday president Don Pierce were approached to take over Mercury's country roster to form the Mercury-Starday label but \"the clincher was the success of George Jones. After 12 years in the business, Mercury hadn't found one country artist who had promised or delivered half of what George had.\" By July 1958, Mercury-Starday dissolved with Pierce assuming control of Starday and Jones remaining at Mercury with Daily producing him.\n\nJones wrote or co-wrote all of the selections on Long Live King George. Two selections, \"Nothing Can Stop My Love\" and \"Tall, Tall Trees\", were co-written with Jones's friend Roger Miller, the latter becoming a chart-topping country hit for Alan Jackson in 1995. Jones also collaborated with J.P. Richardson (better known as the Big Bopper) on the upbeat \"If I Don't Love You (Grits Ain't Groceries)\" (which, aside from the title line, has no relation to the R&B song \"Grits Ain't Groceries\"). Richardson would also compose \"White Lightnin'\", which would become Jones's first number one in 1959.\n\nLong Live King George includes several songs, such as his first chart hit \"Why Baby Why\", that appeared on his 1957 debut album Grand Ole Opry's New Star. As Jones star continued to rise in the country music field, Starday would continue to release albums featuring recordings by Jones culled from its archive, including several rockabilly sides that the singer detested. Starday would continue this practice into the 1970s. Jones would later explain to Nick Tosches in 1994, \"There was no such thing as production at Starday. We’d go in with the band, we’d go over the song, I’d look over and tell the steel player to take a break or kick it off, and I’d get the fiddle to play a turnaround in the middle. I’d just let them know if we were going to tag it or not. We’d just go through it. We didn’t take the pains of making several takes. Back then, over three or four takes, they’d say, 'My God, this is costing us money.' So we’d just get it down as good as we could. If we went a little flat or sharp in a place or two, they’d say, 'The public ain’t going to notice that, so put it out.' So we did, and it wasn’t too successful, so I think maybe the public did notice it.\"\n\nTrack listing\n\nReferences\n\n1958 compilation albums\nGeorge Jones compilation albums\nAlbums produced by Pappy Daily\nStarday Records compilation albums"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,",
"Who else did he create videos for?",
"House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.",
"Where all of his music videos related to movies?",
"In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for \"Take It\".",
"Why did he take such a long break?",
"I don't know."
] |
C_1ea811a7751f406c9a985784066f8853_1
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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 besides Paris Barclay taking a long break?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash,
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| 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"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,",
"Who else did he create videos for?",
"House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.",
"Where all of his music videos related to movies?",
"In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for \"Take It\".",
"Why did he take such a long break?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Also drawing on his music video experience was Barclay's episode (\"The Coup\") of the Steven Spielberg-produced NBC series Smash,"
] |
C_1ea811a7751f406c9a985784066f8853_1
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Any other episodes that payed respect to Barclay?
| 7 |
Any other episodes that payed respect to Barclay besides "The Coup"?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
|
Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| true |
[
"\"Hollow Pursuits\" is the 21st episode of the third season of the American science fiction television series Star Trek: The Next Generation, and the 69th episode of the series overall. The episode introduces the recurring character Lieutenant Reginald \"Reg\" Barclay, who would go on to appear frequently in The Next Generation and Star Trek: Voyager, as well as in the film Star Trek: First Contact.\n\nSet in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D. In this episode, the Holodeck fantasy life of a highly insecure crewman aboard the Federation starship USS Enterprise-D interferes with his ability to deal with malfunctions which threaten the ship.\n\nPlot\nThe Enterprise is in the process of transporting Mikulak biological tissue samples intended for use in combating an epidemic of Correllium fever on Nahmi IV. The transport of the samples is delicate, and when they find one of the sample containers is leaking, they are forced to destroy it to prevent the contamination of the other samples. La Forge tells Riker he is concerned that one of his engineers, Reginald Barclay, has been underperforming and notes that he is late to help with the sample transport. What La Forge does not recognise is that Barclay has been in the holodeck acting in a simulation of other Enterprise crew members, avoiding contact with their real counterparts. La Forge requests that Barclay be transferred from the Enterprise but Picard recommends that La Forge take Barclay on as a \"pet project\".\n\nLa Forge works at supporting Barclay as their team works to investigate the failure of unconnected systems around the ship. Picard invites Barclay to a bridge meeting to review the investigation, but slips up and accidentally calls him \"Broccoli\", a nickname given to him by Wesley Crusher, due to Barclay's tendency to 'veg out'. Barclay later returns to the holodeck to seek refuge in the simulated version of the bridge members. In talking to La Forge, Guinan suggests that Barclay is simply imaginative and that La Forge keep a more open mind towards him. On her advice, La Forge visits Barclay on the holodeck and discovers the exaggerated simulation of the bridge crew. La Forge suggests Barclay has counseling from Troi, whose counterpart on the holodeck displays clear signs of sexual attraction towards Barclay. Barclay attempts to undergo a real counseling session with Troi, but loses control when she tries to relax him with the appearance of actions his holodeck version of her would do, and ends the counseling session to flee back to the holodeck.\n\nWhen Barclay cannot be located to attend a briefing with Riker, Riker storms into the holodeck with La Forge and Troi to locate him. They find comical versions of the senior staff, with bumbling versions of Picard and La Forge, a slothful idiot version of Wesley, and an extremely short, comical version of Riker. Riker attempts to stop the program angrily, but Troi stops him saying it might traumatize Barclay and exploring this world can help them understand Barclay better. However, when they come across the sexed up version of her, it's her turn to want to immediately stop the program, but Riker stops her, sarcastically throwing her own words in her face. They finally locate Barclay sleeping in the lap of a fantasy Dr. Crusher.\n\nSuddenly, the Enterprise mysteriously accelerates to warp speeds, and Riker, La Forge and Barclay go to Engineering to discover the matter/anti-matter injectors have jammed; the ship will continue to accelerate until its structural integrity collapses unless the injectors are cleared. The team is unable to come up with any immediate solutions that will work in the limited time they have, but Barclay realizes all the failures they have seen have been connected by a human element: a member of La Forge's Engineering team has been present at each incident, so he surmises that somehow they became carriers of an undetectable contaminant. Using a process of elimination, they reduce the possible contaminants from 15,525 to 2. The contamination that has been interfering with the systems is quickly discovered to be invidium, which was used as part of the Mikulak samples. They are able to quickly repair the injectors, stop the ship, and set course for a nearby starbase to remove the rest of the invidium contamination. La Forge commends Barclay for his contribution in saving the ship.\n\nBarclay returns one more time to the holodeck and addresses the simulated bridge crew, believing it best he leave them, and then deletes all of his holodeck programs but one, program #9.\n\nProduction\nAccording to episode writer Sally Caves, Reginald Barclay (Dwight Schultz) is a satirical depiction of Trekkies and their excessive obsession with imaginary characters.\n\nReception\nIn 2009, Io9 listed \"Hollow Pursuits\" as one of the worst of the holodeck themed episodes, although they noted that some people like it. They note that it features Lt. Barclay, who has become addicted to the holodeck and main bridge crew must wean him off his fantasy life.\n\nIn 2016, Syfy ranked this the 10th best holodeck episode of the Star Trek franchise.\n\nIn 2019, CBR ranked this the fourth best holodeck-themed episode of all Star Trek franchise episodes up to that time.\n\nReleases\nThe episode was released with Star Trek: The Next Generation season three DVD box set, released in the United States on July 2, 2002. This had 26 episodes of Season 3 on seven discs, with a Dolby Digital 5.1 audio track. It was released in high-definition Blu-ray in the United States on April 30, 2013.\n\nReferences\n\n Star Trek The Next Generation DVD set, volume 3, disc 6, selection 1.\n\nExternal links\n\n \n\n Hollow Pursuits rewatch by Keith R.A. DeCandido\n \"Hollow Pursuits\" rewatch by Zack Handlen of The A.V. Club\n\nStar Trek: The Next Generation (season 3) episodes\n1990 American television episodes\nHolography in television\nTelevision episodes directed by Cliff Bole",
"\"Realm of Fear\" is the 128th episode of the American science fiction television series Star Trek: The Next Generation. It is the second episode of the sixth season.\n\nSet in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D. In this episode, Lieutenant Reginald Barclay (played by Dwight Schultz) has a paralyzing fear of the transporter and is convinced he is being attacked by a creature inside the beam.\n\nThe mission involves the Enterprise's encounter with the USS Yosemite, which is trapped in a plasma stream and whose crew is missing. This provides a backdrop to explore Barclay's fears, showing a new facet of a character who was previously oriented towards comic relief.\n\nPlot\nThe Enterprise comes to the assistance of the USS Yosemite, a science vessel from which several crewmen disappeared in a transporter accident. The Enterprise is unable to transport crew members directly to the Yosemite due to interference. Lt. Reginald Barclay suggests linking the transporter systems of both ships, which allows them to transport one by one to the Yosemite but requires a lengthy dematerialization/materialization process. Barclay, assigned as part of the team, hesitates to transport and instead walks away.\n\nBarclay discusses the matter with Counselor Deanna Troi, who teaches him Betazoid meditation techniques to help calm himself. Transporter Chief Miles O'Brien provides Barclay with advice on dealing with his fears, relating his own fear of spiders. Barclay is safely transported to the Yosemite, where he helps the crew investigate. On his return trip, Barclay believes he sees wormlike creatures in the matter stream that attempt to approach him and touch his arm, but he materializes on the Enterprise without harm. He decides that he is suffering from transporter psychosis, a rare affliction. His paranoia forces Troi to declare him unfit for duty. Barclay asks O'Brien to review the transporter logs, and O'Brien agrees there was a strange surge during Barclay's transport. Barclay asks O'Brien to transport him again, recreating the surge, and Barclay again sees the creatures in the matter stream.\n\nBarclay calls a meeting with the senior staff and explains his observations. Captain Picard orders a thorough review of the transport systems and those that have used it recently. Barclay's arm is found to be out of phase, and further examination reveals microbes that were not detected by the biofilter. To remove the microbes, Barclay is put through the transport again, holding him in the matter stream for a longer duration to allow the biofilters to work. While in the stream, Barclay sees one of the creatures approach him and at the last moment reaches out to grab it to his body. When he materializes one of the missing Yosemite crew materializes alongside him. Barclay quickly explains that the remaining worm creatures in the matter stream are the missing crew members, who are then quickly rescued. The Enterprise crew determine that an explosion near the Yosemite during the transport caused the people to become trapped. Later, Barclay and O'Brien meet at Ten-Forward to discuss the nature of fear, and O'Brien shows a visibly frightened Barclay his pet spider Christina.\n\nInfluences \nThis episode focused on exploring the fictional transporter technology of Star Trek, and technological phobias similar to original series character Doctor McCoy who also tried to avoid using it when possible. Transporter accident episodes are a recurring plot device across the Star Trek universe.\n\nReleases \nThe episode was released as part of the Star Trek: The Next Generation season six DVD box set in the United States on December 3, 2002. A remastered HD version was released on Blu-ray optical disc, on June 24, 2014. The most recent release was the first on Blu-ray disc, which took place on June 24, 2014.\n\nReferences\n\nExternal links\n\nStar Trek: The Next Generation (season 6) episodes\n1992 American television episodes\nTelevision episodes written by Brannon Braga\nTelevision episodes directed by Cliff Bole"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,",
"Who else did he create videos for?",
"House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.",
"Where all of his music videos related to movies?",
"In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for \"Take It\".",
"Why did he take such a long break?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Also drawing on his music video experience was Barclay's episode (\"The Coup\") of the Steven Spielberg-produced NBC series Smash,",
"Any other episodes that payed respect to Barclay?",
"TV Fanatic said that the Barclay-directed number for the original song \"Touch Me\" (written by OneRepublic's Ryan Tedder) \"pushed the boundaries from traditional Broadway show to music video level.\""
] |
C_1ea811a7751f406c9a985784066f8853_1
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Did he do more broadway?
| 8 |
Did Paris Barclay do more broadway besides "Touch Me"?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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CANNOTANSWER
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
| false |
[
"What Did We Do Wrong? is a comedy play about a businessman who turns hippie. The original Broadway production starred Paul Ford and cost $75,000. It only had a short run.\n\nThe play was profiled in the William Goldman book The Season: A Candid Look at Broadway.\n\nReferences\n\nExternal links\n\n1967 plays\nComedy plays",
"The following is a list of highest-grossing musicals, including musical theatre productions and musical films.\n\nHighest-grossing musical theatre franchises\n\nWorldwide revenue\nThe following is a list of the top 10 highest-grossing musical theatre franchises worldwide based on limited available data. The following figures include revenue grossed from ticket sales in theatres across the world.\n\nNote that the following gross figures are nominal, not adjusted for inflation, and do not take into account rising ticket prices. As such, the list gives far more weight to more recent musicals.\n\nThe Lion King sits at the top, with a gross of $8.2 billion worldwide.\n\nBroadway revenue (since 1982)\n\nThe following is a list of the top 25 highest-grossing Broadway musicals since 1982, based on data collected by the Broadway League. These grosses do not take into account the effects of inflation and as such the list is heavily skewed in favor of more recent Broadway shows. Moreover, the Broadway League did not begin collecting gross data until June 1984. Hence, accurate pre-1984 gross data is not available and this list should not be considered accurate for musicals that premiered on Broadway before that year.\n\nThe Lion King sits at the top, with a Broadway gross of $1.6 billion.\n\nDates refer to original Broadway productions, with notes added for future productions that outran the Broadway run.\n\n{| class=\"wikitable sortable\"\n|-\n! rowspan=\"2\" | Rank\n! rowspan=\"2\" | Musical\n! colspan=\"3\" | Original production\n! rowspan=\"2\" | Revivals\n! rowspan=\"2\" | Number of performances\n! rowspan=\"2\" | Gross revenue (US$)\n! rowspan=\"2\" | \n|-\n! Debut year\n! Closing year\n! No. of performances\n|-\n| 1\n| scope=\"row\" style=\"background:#b6fcb6;\" | The Lion King \n| 1997\n| present\n| 9,195\n| \n| \n| $1,657,407,012\n| \n|-\n| 2\n| scope=\"row\" style=\"background:#b6fcb6;\" | Wicked \n| 2003\n| present\n| 6,728\n| \n| \n| $1,345,482,298\n| \n|-\n| 3\n| scope=\"row\" style=\"background:#b6fcb6;\" | The Phantom of the Opera \n| 1988\n| present\n| 13,264\n| \n| \n| $1,241,017,579\n| \n|-\n| 4\n| scope=\"row\" style=\"background:#b6fcb6;\" | Chicago \n| 1975\n| 1977\n| 936\n| 1996–present\n| \n| $656,495,931\n| \n|-\n| 5\n| scope=\"row\" style=\"background:#b6fcb6;\" | The Book of Mormon \n| 2011\n| present\n| 3,642\n| \n| \n| $644,811,371\n| \n|-\n| 6\n| Mamma Mia!\n| 2001\n| 2015\n| 5,758\n|\n| 5,758\n| $624,391,693\n| \n|-\n| 7\n| scope=\"row\" style=\"background:#b6fcb6;\" | Hamilton \n| 2015\n| present\n| 1,812\n| \n| \n| $612,820,842\n| \n|-\n| 8\n| Jersey Boys\n| 2005\n| 2017\n| 4,642\n| \n| 4,642\n| $558,416,092\n|\n|-\n| 9\n| Les Misérables\n| 1987\n| 2003\n| 6,680\n| 2006; 2014–2016\n| 8,167\n| $514,794,489\n| \n|-\n| 10\n| Cats\n| 1982\n| 2000\n| 7,485\n| 2016–2017\n| 8,078\n| $453,624,091\n| \n|-\n| 11\n| Beauty and the Beast\n| 1994\n| 2007\n| 5,461\n| \n| 5,461\n| $429,158,458\n|\n|-\n| 12\n| scope=\"row\" style=\"background:#b6fcb6;\" | Aladdin \n| 2011\n| present\n| \n| \n| \n| $409,432,471\n|\n|-\n| 13\n| Miss Saigon\n| 1991\n| 2001\n| 4,092\n| 2017\n| 4,475\n| $322,103,948\n| \n|-\n| 14\n| Kinky Boots\n| 2013\n| 2019\n| 2,505\n| \n| 2,505\n| $318,990,092\n| \n|-\n| 15\n| Mary Poppins\n| 2006\n| 2013\n| 2,619\n| \n| 2,619\n| $294,558,648\n| \n|-\n| 16\n| The Producers\n| 2001\n| 2007\n| 2,502\n| \n| 2,502\n| $288,361,724\n| rowspan=\"4\" | \n|-\n| 17\n| Rent\n| 1996\n| 2008\n| 5,123\n| \n| 5,123\n| $274,248,128\n|-\n| 18\n| Hairspray\n| 2002\n| 2009\n| 2,642\n| \n| 2,642\n| $252,181,270\n|-\n| 19\n| Beautiful: The Carole King Musical'\n| 2014\n| 2019\n| 2,418\n| \n| \n| $250,000,000\n|-\n| 20\n| scope=\"row\" style=\"background:#b6fcb6;\" | Dear Evan Hansen \n| 2016\n| present\n| 1,256\n| \n| \n| $226,487,901\n| \n|-\n| 21\n| Spider-Man: Turn Off the Dark| 2011\n| 2014\n| 1,066\n| \n| 1,066\n| $212,406,040\n| rowspan=\"3\" | \n|-\n| 22\n| Matilda the Musical| 2013\n| 2017\n| 1,554\n| \n| 1,554\n| $198,165,852\n|-\n|-\n| 23\n| Billy Elliot the Musical| 2008\n| 2012\n| 1,312\n| \n| 1,312\n| $183,514,398\n|-\n| 24\n| Spamalot| 2005\n| 2009\n| 1,575\n| \n| 1,575\n| $175,000,000\n| \n|-\n| 25\n| Aida| 2000\n| 2004\n| 1,852\n| \n| 1,852\n| $165,928,398\n| \n|}\n\nHighest-grossing musical films\nBox office revenue\nNote that the following gross figures are nominal, not adjusted for inflation, and do not take into account rising ticket prices, or differences in ticket prices between different countries. When adjusted for inflation, the highest-grossing musical films are The Sound of Music, with an inflation-adjusted worldwide gross of $; followed by Snow White and the Seven Dwarfs, with an inflation-adjusted worldwide gross of $ (both as of 2019). The top five films are among the highest-grossing films of all time.\n\nTimeline of highest-grossing musical films\n\n \n\nHighest-grossing opening weekends\nThe following is a list of the biggest opening weekends for musical films worldwide.\n\nTimeline of highest-grossing openings\n\n \n \n \n\nHighest-grossing musical films by year\n\nThe following is a list of highest-grossing musical film by year. Disney top the list 27 times. All films in The Jungle Book, Saturday Night Fever, Beauty and the Beast, The Lion King, Rio are on the list, along with Alvin and the Chipmunks'' franchises are the most represented franchises each have two films on the list.\n\n ( ... ) Since grosses are not limited to original theatrical runs, a film's first-run gross is included in brackets after the total if known.\n\nHighest-grossing musical film series and film franchises\nNote that the following gross figures are nominal, not adjusted for inflation, and do not take into account increasing ticket prices.\n\nA series must have at least two theatrically released films.\n\nBox office admissions (ticket sales)\n\nMusical theatre\nThe following is a list of the top 10 musical theatre franchises with the highest theatre admissions. The list includes worldwide ticket sales as well as Broadway ticket sales since 1984.\n\nThe Broadway League did not begin collecting admissions data until June 1984. Hence, pre-1984 Broadway admissions data is not available and the Broadway figures should not be considered accurate for musicals that premiered on Broadway before that year.\n\nMusical films\n\nThe following table lists known estimated box office ticket sales for various high-grossing musical films that have sold at least 75million tickets worldwide.\n\nNote that some of the data are incomplete due to a lack of available admissions data from a number of countries. Therefore, it is not an exhaustive list of all the highest-grossing musical films by ticket sales, so no rankings are given.\n\nSee also \n Lists of musicals\n List of highest-grossing films\n List of highest-grossing Bollywood films\n List of highest-grossing non-English films\n List of multimedia franchises\n List of highest-grossing media franchises\n Long-running theatre productions\n Broadway shows\n West End shows\n List of best-selling albums\n List of best-selling albums by country\n List of best-selling books\n List of best-selling comic series\n List of best-selling singles\n Soundtrack album\n\nNotes\n\nFootnotes\n\nReferences\n\nMusicals\nMusical\nHighest-grossing musicals\nHighest-grossing"
] |
[
"Paris Barclay",
"Music video career",
"When did Barclay start his music video career?",
"Following his graduation from Harvard, he worked as a copywriter and creative supervisor",
"How well did his music video career do initially?",
"Most notably, he created eight videos for LL Cool J,",
"Who else did he create videos for?",
"House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.",
"Where all of his music videos related to movies?",
"In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for \"Take It\".",
"Why did he take such a long break?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Also drawing on his music video experience was Barclay's episode (\"The Coup\") of the Steven Spielberg-produced NBC series Smash,",
"Any other episodes that payed respect to Barclay?",
"TV Fanatic said that the Barclay-directed number for the original song \"Touch Me\" (written by OneRepublic's Ryan Tedder) \"pushed the boundaries from traditional Broadway show to music video level.\"",
"Did he do more broadway?",
"I don't know."
] |
C_1ea811a7751f406c9a985784066f8853_1
|
Did any of his videos get awards?
| 9 |
Did any of Paris Barclay's videos get awards?
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Paris Barclay
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Following his graduation from Harvard, he worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games" ), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free" ). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others. In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It". Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level." CANNOTANSWER
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won awards from both MTV and Billboard--and went on to be listed by The Rock and Roll Hall of Fame
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Paris K. C. Barclay (born June 30, 1956) is an American television director, producer, and writer. He is a two-time Emmy Award winner and is among the busiest single-camera television directors, having directed over 160 episodes of television to date, for series such as NYPD Blue, ER, The West Wing, CSI, Lost, The Shield, House, Law & Order, Monk, Numb3rs, City of Angels, Cold Case, and more recently Sons of Anarchy, The Bastard Executioner, The Mentalist, Weeds, NCIS: Los Angeles, In Treatment, Glee, Smash, The Good Wife, Extant, Manhattan, Empire, and Scandal. In 2016, Barclay worked as an executive producer and principal director for the Fox series Pitch. In 2018, Barclay directed the pilot and served as an executive producer on the Shondaland show, Station 19, which follows a group of Seattle firefighters that exist in the Grey's Anatomy universe and stars Jaina Lee Ortiz, Jason George, Grey Damon, Miguel Sandoval, Jay Hayden, Danielle Savre, Barrett Doss, Okieriete Onaodowan, and Boris Kodjoe. The show is also executive produced by Shonda Rhimes, Betsy Beers, Ellen Pompeo, and Krista Vernoff. It premiered on ABC in March 2018 and is currently filming its fifth season.
From 2013 to 2017, Barclay served two terms as the President of the Directors Guild of America. For the past three years, he has been listed by Variety as “one of 500 most influential business leaders in Hollywood.”
Early life
Barclay was born in Chicago Heights, Illinois. He attended La Lumiere School, a private college preparatory boarding school in La Porte, Indiana. On scholarship, he was one of the first African-Americans to attend the school, Barclay went on to Harvard College, where he was extremely active in student musical theatre productions and the a cappella singing group The Harvard Krokodiloes. During his four years there, he wrote 16 musicals, including the music for two of the annual Hasty Pudding shows. Barclay attended both the La Lumiere School and Harvard with John Roberts, now the Chief Justice of the Supreme Court. His Harvard roommate was novelist Arthur Golden, author of Memoirs of a Geisha.
Music video career
Following his graduation from Harvard, Barclay worked as a copywriter and creative supervisor at Grey, BBDO, Cunningham & Walsh, and Marsteller. Barclay then moved into music video directing and production through his own company, Black & White Television. He directed music videos for Bob Dylan ("It's Unbelievable"), the New Kids On The Block ("Games"), Janet Jackson and Luther Vandross ("The Best Things in Life Are Free"). Most notably, he created eight videos for LL Cool J, including "Mama Said Knock You Out", which won awards from both MTV and Billboard—and went on to be listed by The Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll. In 2013, Complex Magazine ranked "Mama Said Knock You Out" as one of the top 50 rap videos of the 1990s, crediting it with creating "one of the most crucial links in establishing the cultural bridge between boxing and rap." Barclay was often hired to direct videos for films, introducing audiences to House Party (1990), White Men Can't Jump (1992), Mo' Money (1992), Posse (1993), and Cool Runnings (1993), among others.
In 2012, Barclay directed his first music video in 16 years, working once again with LL Cool J and R&B star Joe on the video for "Take It".
Also drawing on his music video experience was Barclay's episode ("The Coup") of the Steven Spielberg-produced NBC series Smash, in which TV Fanatic said that the Barclay-directed number for the original song "Touch Me" (written by OneRepublic's Ryan Tedder) "pushed the boundaries from traditional Broadway show to music video level."
Film and television career
1990s
Barclay began his successful career in television with an episode of Angel Street. He was hired by John Wells, who was making his debut as an executive producer.
Barclay directed Shawn and Marlon Wayans' first feature film, Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996) – also featuring Keenen Ivory Wayans, Vivica Fox, and Bernie Mac. Although it received mixed reviews, it was a box office success and has built a cult following since its release. Barclay also directed the HBO movie, The Cherokee Kid (1996), a Western dramedy starring Sinbad, James Coburn, Burt Reynolds, Gregory Hines, and A Martinez.
After directing episodes of ER, Barclay directed and eventually became a producer of NYPD Blue. In three years there, Barclay would receive two Emmy Awards for best directing—the second of which was for the episode titled "Hearts and Souls"— featuring the death of Jimmy Smits' character Bobby Simone. The episode has been ranked one of TV Guides 100 Best Episodes of All Time. Barclay has since reteamed with Smits again in his role as "Nero Padilla" on Sons of Anarchy.
2000s
In 2000, Barclay joined forces with fellow NYPD Blue producers Steven Bochco and Nicholas Wootton to create City of Angels, a medical drama with a predominantly African-American cast including Blair Underwood, Viola Davis, Octavia Spencer, Maya Rudolph, and Vivica Fox. The show aired on CBS for two seasons while winning two NAACP awards.
In 2002 he returned to the John Wells fold to produce and direct the pilot, The Big Time, featuring Christina Hendricks, Dylan Baker, Molly Ringwald and Christopher Lloyd—which eventually aired as a two-hour movie. In the years that followed, Barclay worked on a wide variety of television dramas and comedies. He served as co-executive producer and producing director of the series Cold Case, for which he has also directed nine episodes. Other shows he directed in the decade include The West Wing, Huff, Law & Order, Numb3rs, Lost, House, The Shield, Weeds, Monk,The Good Wife, NCIS: Los Angeles, Sons of Anarchy, CSI, The Mentalist and 9 episodes of Glee.
2008 marked Barclay's return to HBO, where he executive produced three seasons of In Treatment, as well as directed 36 episodes.
Also in 2008, Barclay collaborated with screenwriter Dustin Lance Black to write the MTV film Pedro, the story of Pedro Zamora from The Real World: San Francisco. The film, directed by Nick Oceano, premiered at the Toronto International Film Festival and earned the writers WGA, the Humanitas Prize, and GLAAD Media Awards nominations.
2010–present
In 2011, Barclay became the executive producer and primary director for the fourth season of FX's Sons of Anarchy, a role he continued through the seventh and final season.
Also in 2013, Barclay directed two episodes of Glee, "Diva" and "Lights Out". For his work on "Diva", Barclay was nominated for an Emmy for Outstanding Direction in a Comedy Series, his second Emmy nomination for Glee. In the same season, Barclay directed an episode of The New Normal and the penultimate episode of the ABC series Last Resort.
In 2014, Barclay directed the season premiere and penultimate episodes of Sons of Anarchy for the fourth year running. In addition to his Sons of Anarchy duties, Barclay also directed the milestone episode "100" for Glee, for which he received another Emmy nomination, in addition to episodes of The Good Wife, Extant, executive produced by Steven Spielberg and starring Halle Berry, and Manhattan, a Tommy Schlamme/Sam Shaw period drama for WGN America; and Glee's emotional flashback episode "2009" – the first half of the series finale, "a perfect tribute to the origins of Glee, the original cast, and Cory Monteith."
In 2015, Barclay continued his role as Executive Producer/Director on FX's The Bastard Executioner. The show starred Katey Sagal, Stephen Moyer, and Matthew Rhys. At the end of the year, he was enlisted by FOX to direct an episode of Empire, the Television Critics Association program of the year.
In 2016, Barclay joined the Shondaland family by directing an episode of ABC's critically acclaimed show, Scandal, created/produced by Shonda Rhimes, starring Kerry Washington.
In fall 2016, he completed the first season of FOX's Pitch, from writer/creators Dan Fogelman and Rick Singer, starring Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria and up and comer Kylie Bunbury in the title role.
In spring 2017, Barclay was tapped to direct and executive produce the CBS pilot, Perfect Citizen, a legal drama written and executive produced by former The Good Wife executive producer Craig Turk. Perfect Citizen stars Noah Wyle, Kristin Chenoweth, Brian Stokes Mitchell, Stéphanie Szostak, Adrienne Warren, and Shanley Caswell.
Barclay is currently working as the executive producing director on the Shondaland project, Station 19, which follows a group of Seattle firefighters in a spinoff of the highly successful Grey's Anatomy. The show is currently airing its third season in Spring 2020 on ABC.
In early 2019, Barclay teamed up with the Human Rights Campaign and fellow award winner Dustin Lance Black to produce and direct a star-studded Americans for the Equality Act public awareness and advertising campaign. The series, which launched on March 25, 2019 with a debut video featuring Academy Award-winning actress Sally Field and her son Sam Greisman, features prominent figures in entertainment, sports and beyond speaking about the need for the Equality Act — a crucial civil rights bill that would extend clear, comprehensive non-discrimination protections to millions of LGBTQ people nationwide. The powerhouse lineup of supportive film and television actors, influencers, musicians and professional athletes, includes Adam Rippon, Shea Diamond, Alexandra Billings, Blossom Brown, Justina Machado, Gloria Calderon Kellett, Jamie Lee Curtis, Jane Lynch, Jesse Tyler Ferguson and Justin Mikita, Charlie and Max Carver, Karamo Brown, Marcia Gay Harden, and Nyle DiMarco. The Americans for the Equality Act series is modeled after HRC's successful Americans for Marriage Equality campaign and was awarded at the 4th Annual Shorty Social Good awards, and helped lead to the passage of the act in the House of Representatives.
In May 2021, Barclay directed a virtual reading of Larry Kramer's The Normal Heart, with Sterling K. Brown, Laverne Cox, Jeremy Pope and Guillermo Diaz.
Also in 2021, after executive producing and directing 14 episodes of Station 19, Barclay has gone on to direct two episodes of Ryan Murphy's upcoming Netflix series Monster: The Jeffrey Dahmer Story, starring Evan Peters, Richard Jenkins, and Niecy Nash.
Directors Guild of America
In June 2013, Barclay was elected President of the Directors Guild of America, the first African-American and first openly gay President in the history of the Guild. After the vote, Barclay expressed gratitude for the honor and admiration for the Union's history, saying "I am profoundly honored to be elected President of the DGA.... The DGA has worked for more than three-quarters of a century to advance the creative and economic rights of directors and their teams and I look forward to continuing this strong tradition of service. As the son of a glass blower and a tile maker from Chicago, I am extremely humbled to have the honor to serve in the footsteps of the legendary leaders of the DGA like Frank Capra, Robert Wise and Gil Cates." Barclay was nominated for the Presidency by past-President Michael Apted, who said of him, "Paris' qualifications for DGA president are exceptional.... His understanding of the issues facing directors and their teams is outstanding and his ability to resolve problems and create solutions is beyond compare." His nomination was seconded by Steven Soderbergh, who said of Barclay, "This is a great moment for our Guild; Paris will be a phenomenal leader as we move into the future." Barclay was enthusiastically re-elected in June 2015 to continue his notable presidency.
Before being elected DGA President, Barclay served four terms as First Vice President of the DGA, where he was the first African-American Officer in the history of the guild. While serving as First Vice President, Barclay was also chair of the DGA's Political Action Committee, whose mission it is to promote the interests of DGA members to state and federal lawmakers. Their top issues include battling online copyright threats and promoting production tax incentives. He also served on the Western Directors Council and co-chaired the Diversity Task Force, whose mission is to encourage the hiring of women and minority directors to networks and studios. In addition, Barclay served as a board member of the DGA-affiliated Franco-American Cultural Fund, which promotes cultural exchange between French and American directors.
Barclay completed his second term as DGA president in June 2017. He was succeeded by Thomas Schlamme, whom he worked with on The West Wing and Manhattan, as well as on the DGA board.
Barclay's work for the DGA continues even after his presidency: he helped create and teaches the Guild's First Time Director Orientation., and in the successful 2020 contract negotiations Barclay co-chaired the Television Creative Rights Committee.
In 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry. His acceptance speech earned praise for its focus on his hopes for his two sons.
Reputation in the entertainment industry
During his three decades as a director, Barclay has developed a strong reputation as a go-to director capable of working adeptly in multiple genres - described in a June 2011 article in Variety as a "highly adaptive force with the ability to control both TV detectives and scene-stealing gleesters". The same article ranked Barclay among the "Ten TV Directors Who Leave Their Mark." and another called him “one of the most reputable TV directors in Hollywood.”
Sons of Anarchy creator Kurt Sutter stated in an interview with The Star-Ledger that it wasn't until Barclay came on board to direct that the show found its "groove", observing: "We had all those glitches in those first two or three episodes [...] We had (Paris) come in [...] and we all just started trusting what we were doing here." Later in an interview for Variety, Kurt stated "The great thing about (exec producer Paris Barclay) is that he's a writer and he's also a director [...] so he can get the scripts and understand the production realities of it but also understand creatively what the need for everything is."
In an interview with TV Fanatic, Glee actor Blake Jenner credited Barclay for guiding him through a difficult scene in the episode "Lights Out", saying "He was just so nurturing."
In a piece for Vulture, television critic Matt Zoller Seitz cites Barclay as one of the few producer/directors who can "manage and drive the medium [of television]" as well as a writer-showrunner can. Seitz explains, "Directors tend to think in terms of images and moments; those skill sets aren't often compatible with the left-brain requirements of managing a sitcom or drama (though there are always exceptions; see veteran TV director Paris Barclay's executive-producer credit on FX's stylishly nasty biker drama, Sons of Anarchy)."
Ryan Murphy, creator of the Fox hit Glee, called Barclay's episode "Wheels" a "turning point for the show".
Over time, many of Barclay's former assistants have gone on to great Hollywood success in their own right. One of his first assistants was Kevin Williamson, writer of Scream and I Know What You Did Last Summer, and the creator and Executive Producer of the hit television shows Dawson’s Creek, The Vampire Diaries, and The Following. Josh Barry, another former Barclay assistant, was the head of the television department at Prospect Park after working as an executive in Drama Development at ABC. He was recently tapped to be the President of Shawn Levy's 21 Laps Television as part of a major deal with Netflix. Sam Martin, the former HBO executive (Bury My Heart at Wounded Knee, Lackwanna Blues) and film producer (Pariah) and Jason Clodfelter, former VP of Drama Development, and now Co-President at Sony Television, both previously served as Barclay assistants.
Awards
Along with winning two Emmy Awards for NYPD Blue (Outstanding Directing for a Drama Series - "Lost Israel Part II" and "Hearts and Souls"), Barclay has garnered another six Emmy nominations: two for producing NYPD Blue (Outstanding Drama Series), one for directing The West Wing (Outstanding Directing for a Drama Series - "Indians In The Lobby"), and three for directing Glee (Outstanding Directing for a Comedy Series - "Wheels", "Diva" and "100").
He has also received a Directors Guild of America Award for NYPD Blue and 10 other DGA Award nominations for The West Wing (3), In Treatment (2), NYPD Blue (2), ER, House, and Glee. In 2007, he and Taylor Hackford were recipients of the DGA Robert B. Aldrich Award, for Distinguished Service to the Directors Guild. In spring 2021, he was named an Honorary Life Member of the DGA, one of the guild's highest honors, recognizing his career achievements and leadership in the industry.
Barclay received an NAACP Image Award for Outstanding Drama Series as co-creator, writer, and director of the groundbreaking medical drama City of Angels, another Image Award for directing Cold Case, and a third Image Award for directing Smash. He has been nominated for the Image Award for Directing every year it has been offered, from 2006 to 2013. On February 22, 2014 the NAACP honored Barclay by inducting him into the NAACP Hall of Fame. The Hall of Fame Award is bestowed on an individual who is a pioneer in his or her respective field and whose influence will shape the profession for generations to come. Other recipients have included Lena Horne, Paul Robeson, Sidney Poitier, Bill Cosby and Oprah Winfrey.
Also a writer, Barclay received his first WGA Award nomination for co-writing Pedro with screenwriter Dustin Lance Black, marking the Oscar-winner's first WGA credit. The moving story of The Real World's Pedro Zamora garnered the team nominations for a GLAAD Media Award and Humanitas Prize.
Episodes directed by Barclay for Glee and In Treatment have become the recipients of the prestigious Peabody Award for excellence in broadcasting. The Glee episode "Wheels" was also acknowledged at the 2010 Shane's Inspiration Gala, receiving the Visionary Leadership Award for shining a light on the abilities of those with disabilities.
The Glee episode, "Wheels" and CSI: Crime Scene Investigation episode, "Coup de Grace" were both chosen for the Academy of Television Arts & Sciences' Television Academy Honor, saluting "Television with a Conscience," in which the Academy recognizes achievements in programming that present issues of concern to society in "a compelling, emotional, and insightful way." Barclay also accepted the Voice Award from the US Department of Health and Human Services on behalf of In Treatment, for "incorporating dignified, respectful, and accurate portrayals of people with mental illnesses."
In June 2011, Advertising Age featured Barclay on the cover as one of 2011's 50 Most Creative People, saying "Mr. Barclay brings an innate cultural awareness to shows." TV Guide also recognized his House episode, "Three Stories", as one of the 100 Best Episodes of All Time.
In April 2017, Barclay was awarded the Order of the Golden Sphinx by the acclaimed Hasty Pudding Institute of Harvard University – it is the highest honor bestowed by the Institute and recognizes individuals in the entertainment industry for their extraordinary contributions to the performing arts. The recipient represents the Institute's mission to support and foster performing arts within its membership, at Harvard, and around the world.
In addition to his honors in television, Barclay has been awarded the Founder's Award from Project Angel Food in 1998, the GLAAD Stephen F. Kolzak Award in 2001, to honor his outstanding representation of the LGBT community, and in 2004 the Pan-African Film Festival Pioneer Award. In 2009 Barclay was named by POWER UP as one of the Top Ten Gay Men in Entertainment; 2010 he received the Bridge Award from the Cornerstone Theater in Los Angeles for over 20 years of contributing to the theater. Barclay received the 2012 Upton Sinclair Award from the non-profit Liberty Hill for "unwavering idealism and vision.". Also in 2012, he and husband Christopher Barclay were awarded with the Family Values Award from In the Life Media, given to "individuals whose representation of LGBT families serve as an inspiration for all Americans. More recently, he's been awarded the Artistic Excellence Award from the Aviva Family & Children Services Program, the Visibility Award from the Human Rights Campaign, as well as the Legacy Award from the African-American Film Critics Association.
Work in musical theater
In the theater, Barclay presented his original musical On Hold With Music at Manhattan Theater Club in 1984, with a cast including Jason Alexander, Terry Burrell, John Dossett, Ray Gill, and Maureen Brennan. Based on his life in advertising, Barclay wrote and composed the sung through musical in its entirety.
In 1985, he wrote the book, music and lyrics for another musical drama entitled Almos' a Man, based on a short story by Richard Wright – which had been developed in the second year of the ASCAP Musical Theater Workshop in New York, under the tutelage of Charles Strouse and Stephen Sondheim. It was produced that year at Soho Rep, receiving a mixed review from the New York Times’ Mel Gussow.
After years of directing, Barclay returned to composing in September 2001 with the premiere of a musical based on the collection of letters Dear America: Letters Home from Vietnam. Called Letters from ‘Nam, the play featured Grammy winner Maureen McGovern, future Tony winner Levi Kreis, and David Burnham. Praised by most reviewers and opening days before the September 11 attacks in 2001, the Vietnam musical hit home emotionally with those who performed in it, produced it, or experienced it.
In 2003, Barclay wrote songs for and co-directed Order My Steps for the Cornerstone Theater Company. The musical play, with book by Tracey Scott Wilson, dealt with the African-American church's response to the AIDS epidemic. The Los Angeles Times call a "moving tale about the human toll of AIDS."
Barclay returned to Vietnam with One Red Flower: Letters from ‘Nam, a reworked version of the musical was produced at the Village Theater in Issaquah to further acclaim, with Levi Kreis and David Burnham reprising their roles. Other productions followed, with the most significant being Eric Schaeffer's "gritty and emotional" staging at the Signature Theatre in Arlington, Virginia in 2004.
In 2008, Barclay presented a reading of One Red Flower in Los Angeles to benefit New Directions, an organization that supports veterans of all wars. Maureen McGovern, Levi Kreis and David Burnham returned in featured roles, with television stars Hunter Parrish and Josh Henderson. Although it was not a full production, again it received glowing reviews, described by Beverly Cohn in the Santa Monica Mirror as an "evening that had the audience smiling with a lump in its throat."
Personal life
Openly gay since late in his college days, he was a regular contributor to The Advocate for several years. Barclay married food-industry executive Christopher Barclay (né Mason), his partner of 10 years, in 2008. They have 2 children.
Filmography
Directed episodes of (arranged in order from most episodes directed to least):
In Treatment (36 episodes; also executive producer; Golden Globe nomination, 2 DGA nominations, and NAACP Image Award nomination)
Sons of Anarchy (15 episodes, one NAACP Image Award nomination, also executive producer)
Station 19 (14 episodes; also executive producer)
NYPD Blue (12 episodes; 2 Emmy Awards; also supervising producer)
Cold Case (9 episodes; also co-executive producer; NAACP Image Award)
Glee (9 episodes, 3 Emmy nominations, 2 DGA nominations)
The Bastard Executioner (4 episodes; also executive producer)
City of Angels (4 episodes; NAACP Image Award for best drama series; also co-executive producer and co-creator)
CSI: Crime Scene Investigation (4 episodes; 2 NAACP Image Award nominations)
Pitch (4 episodes, NAACP Image Award nomination, also executive producer)
The Shield (3 episodes; NAACP Image Award nomination)
The West Wing (3 episodes; Emmy nomination, 3 DGA nominations)
ER (3 episodes; DGA nomination)
Sliders (3 episodes)
Monster (2 episodes)
The Good Wife (2 episodes)
Angel Street (2 episodes)
Second Noah (2 episodes)
Clueless (2 episodes)
Monk (2 episodes)
NCIS: Los Angeles (2 episodes)
Dirt (2 episodes)
Fastlane (2 episodes)
Empire
Scandal
How to Get Away with Murder
Diagnosis: Murder
Brooklyn South
American Dreams
Huff
Lost
NUMB3RS
House MD (DGA nomination)
Weeds (DGA nomination)
The Mentalist
Miami Medical
The New Normal
Last Resort
The Chicago Code
Law & Order
Silk Stalkings
Moon Over Miami
Rebel (ABC)
Television pilots:
Station 19, for ABC
Perfect Citizen, starring Noah Wyle, for CBS
Pitch, for FOX
The Bastard Executioner, for FX
The Street Lawyer, based on the novel by John Grisham for ABC
Dead Lawyers starring F. Murray Abraham for SyFy
City of Angels with Blair Underwood and Viola Davis for CBS
Hate starring Marcia Gay Harden for Showtime
The Chang Family Saves the World written by John Ridley for ABC
Big Mike starring Greg Grunberg for A&E
Television movies:
The Cherokee Kid (HBO)
The Big Time (TNT)
Feature Film:
Don't Be a Menace to South Central While Drinking Your Juice in the Hood (Miramax)
References
External links
1956 births
African-American film directors
African-American television directors
American music video directors
American television directors
Comedy film directors
American gay writers
Television producers from Illinois
American television writers
American male television writers
Film directors from Indiana
Harvard College alumni
La Lumiere School alumni
LGBT African Americans
LGBT people from Illinois
LGBT television directors
Living people
Businesspeople from Chicago
Presidents of the Directors Guild of America
Primetime Emmy Award winners
Directors Guild of America Award winners
Hasty Pudding alumni
Screenwriters from Illinois
People from Chicago Heights, Illinois
21st-century African-American people
20th-century African-American people
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[
"Portrait of Lotte is a time-lapse viral video involving a girl growing from a newborn in 1999 into a teenager. It was first posted by filmmaker Frans Hofmeester from Utrecht, Netherlands on 17 April 2012.\n\nIt has reached widespread and the video was used on a Sprint commercial.\n\nVince \nAfter 12 years of recording Lotte, Hoffmeester started recording videos of his son, Vince.\n\nHe described Lotte's video as being more \"sweet\" and Vince's as more \"playful\".\n\nBackground \nHoffmeester recorded 15 second videos every week of his daughter, Lotte, from a newborn to a teenager and compiled them together to make a time-lapse video. He calls it \"the ultimate coming of age time-lapse\". He has done several videos of her being recorded to different ages, such as 12, 14, 16, 18 and 20 years old.\n\nHofmeester explains, \"She was changing at such a rapid pace, that I felt the need to document the way she looked, to keep my memories intact\".\n\nCommenting on the occasions he found it difficult to get the footage required, he said, \"Sometimes they did not feel like it. Then I said, 'Just one minute. Tell me about your ball game, did you win?' That way I stalled them so I could complete the shot\".\n\nReferences \n\nViral videos\nDutch short films",
"\"Alive\" is a song by American nu metal band P.O.D. It was released on July 31, 2001, as the lead single from their second major-label studio album, Satellite (2001). It is one of the band's most popular songs. The \"Alive\" CD single was first released in 2001 and then again in 2002 with alternative cover art and tracks. A semi-acoustic remix was included as a bonus track on the special edition re-release of Satellite available August 27, 2002.\n\nBackground\nThe lyrics to the track were written by vocalist Sonny Sandoval and were inspired by a moment when he recognised his own features in those of his young daughter for the first time.\n\nThe song debuted just prior to the September 11, 2001, attacks and benefited by offering a positive message during hard times. As such, \"Alive\" went on to become one of MTV's and MTV2's most played videos of 2001 and became a huge pop hit. Guitarist Marcos Curiel mentioned the song's relevance in a 2008 interview: \"There's just way too much negativity going on in our everyday lives. When you can hear something that's going to uplift you like 'Alive' or something that's going to bring out knowledge like 'Youth of the Nation,' we've done our jobs as an artist. We're trying to be relevant with the people.\"\n\nSonny Sandoval stated, \"We didn't have a name for it, but we were calling it 'Beautiful' because it made us feel beautiful. And that drove the direction of the lyrical content, because we wanted people to go, 'Hey, this makes me feel good.' We recorded the chorus I don't know how many times, because it was like, 'Let's take it up a notch. Let's take it higher.'\"\n\nMusic video\nDirected by Francis Lawrence with special effects by Pixel Envy, the \"Alive\" video made its television debut on August 20, 2001. It boasts a massive car wreck filmed under a freeway intersection in the San Fernando Valley in the summer of 2001. Lawrence had conceived the idea years prior but was unsuccessful in pitching it to bands. Upon filming \"Alive,\" Lawrence stated \"I'm so glad I didn't get those jobs, because this was so perfect.\" His idea developed further upon shooting the video by focusing on a wild day in the life of a teenager. Lawrence elaborate:\n\"I've done emotional videos before, but having kid stuff like – surfing, skating, making out – plus the visual punch of the car accident. It packs it all.\"\nLawrence also modified scenes from his original concept; the boy is shown emerging from the demolished car unscathed rather than not appearing at all, and he makes out with his girlfriend in a train tunnel rather than implying sex in a bedroom as Lawrence previously envisioned. All of the effects and work behind \"Alive\" were detailed in a retrospective MTV article in August 2002.\n\nWhile it did not win any, \"Alive\" was one of the most nominated videos at the 2002 MTV Video Music Awards ceremony. However, it did win two other awards in addition to the five VMA nominations. The video was also No. 2 on TVU's 50 Best Videos of All Time list.\n\nPerformances\nWhen the song became the most requested video on TRL in September 2001, rather than simply having the video aired, P.O.D. performed a live, hour-long set at Battery Park. This was despite Sandoval battling a severe cold.\n\nThe song was performed on The Tonight Show with Jay Leno on October 5, 2001. It was originally planned for the prior month but rescheduled due to the September 11 attacks.\n\nNot including encores, \"Alive\" typically ends P.O.D.'s concert setlist.\n\nAwards\n\n2001 San Diego Music Awards\n Song of the Year\n\n2002 Grammy Awards\n Best Hard Rock Performance (nomination)\n\n2002 MTV Video Music Awards\n Video of the Year (nomination)\n Best Group Video (nomination)\n Best Direction in a Video – Francis Lawrence (nomination)\n Best Special Effects in a Video – Pixel Envy (nomination)\n Viewer's Choice (nomination)\n\n2002 MVPA Awards\n Rock Video of the Year\n\nTrack listings\n\nUK enhanced CD single\n \"Alive\" (album version) – 3:22\n \"School of Hard Knocks\" – 4:04\n \"Lie Down\" (demo) – 4:20\n \"Alive\" (enhanced video)\n\nUK cassette single\n \"Alive\" (album version) – 3:22\n \"School of Hard Knocks\" – 4:04\n \"Lie Down\" (demo) – 4:20\n\nEuropean CD single\n \"Alive\" (album version)\n \"School of Hard Knocks\"\n\nAustralian CD single\n \"Alive\" (album version)\n \"Lie Down\" (demo)\n \"Sabbath\"\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\nP.O.D. songs\n2001 singles\nMusic videos directed by Francis Lawrence\n2001 songs\nSong recordings produced by Howard Benson\nAtlantic Records singles\nSongs written by Noah Bernardo\nSongs written by Marcos Curiel\nSongs written by Traa Daniels\nSongs written by Sonny Sandoval"
] |
[
"Wes Hall",
"Early life and career"
] |
C_95b0ad5dc8664cdcbf8d453d8ee9ac92_1
|
When was he born?
| 1 |
When was Wes Hall born?
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Wes Hall
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Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King. After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise". Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER
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Sir Wesley Winfield Hall (born 12 September 1937) is a Barbadian former cricketer and politician. A tall, strong and powerfully built man, Hall was a genuine fast bowler and despite his very long run up, he was renowned for his ability to bowl long spells. Hall played 48 Test matches for the West Indies from 1958 to 1969. Hall's opening bowling partnership with fellow Barbadian Charlie Griffith was a feature of the strong West Indies teams throughout the 1960s. Hall was one of the most popular cricketers of his day and was especially popular in Australia, where he played two seasons in the Sheffield Shield with Queensland.
A wicket-keeper/batsman as a schoolboy, Hall did not take up fast bowling until relatively late. He was included in the West Indies squad to tour England in 1957 having only played one match of first-class cricket. He made his Test cricket debut against India in 1958 and was instantly successful. He took a Test hat-trick in Pakistan in 1959, the first West Indian cricketer to do so. Hall bowled the final over in two famous Test matches, the Tied Test against Australia in 1960 and the Lord's Test against England in 1963. Years of non-stop cricket and resultant injury reduced Hall's effectiveness in the latter part of his Test career.
After his playing days Hall entered Barbadian politics, serving in both the Barbados Senate and House of Assembly and appointed Minister of Tourism in 1987. He was also involved in the administration of West Indies cricket as a selector and team manager and served as President of the West Indies Cricket Board from 2001 to 2003. Hall was later ordained a minister in the Christian Pentecostal Church. He is a member of the ICC Cricket Hall of Fame and the West Indies Cricket Hall of Fame. In 2012 he was created a Knight Bachelor for services to sport and the community.
Early life and career
Hall was born in Saint Michael, Barbados—"just outside the walls of [HM Prison] Glendairy"—to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.
After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".
Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957–58.
Test career
Debut and hat-trick
Originally left out of the West Indies team to tour India and Pakistan in 1958–59, Hall was called into the team as a backup for the Trinidadian Jaswick Taylor after the all-rounder Frank Worrell withdrew from the team at a late stage. Hall met with some success an early match against Baroda, taking 5 wickets for 41 runs (5/41) in Baroda's second innings. This performance saw Hall overtake Taylor to become the first-choice partner of Roy Gilchrist in the Test team. The pair had a highly successful Test series against the Indians with Wisden Cricketers' Almanack describing the duo as "two fearsome opening bowlers reminiscent of the days of [Manny] Martindale and [Learie] Constantine."
Hall made his debut in the first Test against India at Brabourne Stadium at Bombay and met with almost instant success. He dismissed the Indian opener Nari Contractor for a duck and quickly followed than with the wickets of Pankaj Roy and Vijay Manjrekar. In what ended as a dour draw, Hall finished with 3/35 in the first innings and 1/72 in the second. When Gilchrist was dropped from the second Test at Modi Stadium in Kanpur, Hall—in only his second Test match—was given the responsibility of leading the West Indies bowling attack. Hall was equal to the task, playing "a decisive part in India's downfall" taking 11 wickets in the match. Over the entire five Test series—won by the West Indies three Tests to nil—Hall and Gilchrist terrorised the Indian batsman, who had neither the "experience or the physical capacity" to stand up to the West Indian fast bowling duo.
The West Indies were not as successful in the three Test series against Pakistan, losing the first two Tests before winning the final Test—the first time Pakistan had lost a Test match at home. Hall bowled well in both the matches, however. In the second Test at Dacca, Hall relied on movement through the air rather than sheer pace and had Pakistan reeling on stage, five wickets down for only 22 runs made (22–5) In the third Test at Bagh-e-Jinnah in Lahore, Hall made history by becoming the first West Indian to take a hat-trick in Test cricket. His victims were Mushtaq Mohammad (aged 15 and in his debut Test match, at the time the youngest cricketer to play Test cricket), Nasim-ul-Ghani and Fazal Mahmood.
Hall once again performed well when England toured the West Indies in 1959–60. Wisden remarked that Hall "with a lovely action, genuine speed and remarkable stamina" was "always the biggest threat to England." Hall came close to winning the third Test at Sabina Park in Jamaica for the West Indies on the first day when England were reduced to 165/5 at stumps, Hall having captured five of the wickets to fall. Only Colin Cowdrey was able to stand in his way with Hall finishing the innings with 7/69, his best bowling figures in Test cricket. In the third Test in a placid pitch at Bourda in British Guiana, Hall again broke the back of England's batting taking six wickets for 90 runs in the England first innings. This included bowling M. J. K. Smith out for a duck for the second Test in a row. Hall played alongside his great partner Charlie Griffith in Test cricket for the first time in the fifth Test at Port of Spain. By this stage, Hall had "burned himself out" and he bowled only four overs in the England second innings as the West Indies pushed for a series-equalling win. Unfortunately for the West Indies and Hall, England held on for a draw and won the series one Test to nil.
In April 1960, Hall began the first of his three seasons as a professional with Accrington Cricket Club in the Lancashire League. Hall was first offered a contract by Accrington for the 1959 season, which he turned down through loyalty to his employer in Barbados who had provided him with leave to tour England. Hall was a success in League cricket, capturing 100 wickets in the 1960 season, 106 wickets in the 1961 season (when Accrington won the Lancashire League championship) and 123 wickets in the 1962 season, falling just short of the then-League record. Hall also managed to capture 10 wickets in an innings on two occasions with Accrington, 10/57 against Burnley and 10/28 against Bacup. Hall left Accrington in 1964 to take up a less restrictive contract with Great Chell Cricket Club in the Staffordshire League. During the 1964 season, Hall married his childhood sweetheart Shurla in Liverpool.
Success in Australia
The 1960–61 Test series against Australia is one of the most famous in the history of Test cricket and Hall played a major role in its outcome. The first Test in the series at the Gabba in Brisbane had a thrilling finish. The West Indies set Australia a target of 233 runs to win the match. Hall broke through early, taking the wickets of Bob Simpson and Neil Harvey, followed, after some stubborn resistance, by Norm O'Neill. The West Indies captain Frank Worrell then dismissed Colin McDonald before Hall struck again for his fourth wicket, Les Favell caught by Joe Solomon. Australia were 57/5 and the West Indies seemed set to win the match. After the sixth Australian wicket fell with Australia having made only 92 runs, the Australian captain Richie Benaud came to the crease to join Alan Davidson. Together the pair took Australia to 226/7 and now Australia looked assured victors with only 7 runs to get. Joe Solomon then turned the game again with a direct hit on the stumps to run out Davidson. Hall was entrusted by his captain Worrell to bowl the last over of the day with Australia needing four runs and West Indies needing three wickets to win the game. In one of the most exciting finishes in Test match history, Hall had Benaud caught behind, then dropped a catch and two Australian batsmen were run out trying to make the winning run. The match finished in a tie, the first in Test cricket.
Hall bowled well in the second Test at the Melbourne Cricket Ground, taking 4/51 in the first innings and another two wickets "bowling at his fastest" in the second innings in which Australia comfortably made the 70 runs they needed to win the Test. The pitches used in the remaining three Test of the series favoured slow bowling and Hall did not play as large a role from that point on. West Indies won the third Test, the fourth Test was a thrilling draw but Australia won the final Test, at Melbourne again, to win the series two Tests to one. Over the course of the series both teams had striven to play bright, attractive cricket and the Australian public took the West Indian team to their hearts. Hall and the West Indies were farewelled with a ticker-tape parade through the streets of Melbourne. Hundreds of thousands of Australians keen to express their appreciation for the team brought the city to a standstill and reportedly brought Hall and his teammates to tears. Hall later described the spontaneous display of affection from the public as one usually "reserved for royalty or the Beatles".
His popularity in Australia saw Hall invited to play with Queensland for the 1961–62 Sheffield Shield season. Hall enjoyed an immensely successful season with Queensland and a key part of the team's second place in the Sheffield Shield competition—behind perennial powerhouse New South Wales. Hall took 43 wickets for the season at an average of 20.25, trailing only Richie Benaud of New South Wales in the season aggregate. Hall's 43 wickets set a new record for a Queensland bowler in a first-class cricket season. Hall returned for a second season with Queensland in 1962–63, taking 33 wickets for the season as Queensland again finished runner-up in the Sheffield Shield, this time to Victoria. Towards the end of Hall's second season, it became clear that the demands of playing cricket 12 months of the year were starting to take a toll on Hall. Queensland were keen to see Hall return for another season in 1963–64 but Hall declined, fearing his body would not stand up to the strain.
Finest hour
After his first season with Queensland, Hall returned to the Caribbean to join the West Indies team in their Test series against India in 1962. Hall took up where he left off against the Indians two years before. The Indians were a better batting side than the one Hall destroyed in the sub-continent in 1960 but they were still unable to come to terms with his pace. The West Indies won the series 5 Tests to nil and Hall took 27 wickets at an average of 15.74. When the second Test at Sabina Park was heading towards what looked to be a tame draw on a placid pitch, Hall broke the game wide open with some "grand bowling", taking 6/49 and West Indies won the match by an innings. In the fourth Test at Queens Park Oval, Hall was part of a 93-run partnership for the last wicket, making 50 runs himself. He then scythed through the Indian top order, taking the first five wickets of the innings to have India at 30/5 at one stage, a position they could not recover from.
These efforts led him to achieve the No. 1 ranking in ICC Test Bowlers ranking for 1962.
The success of Hall and his fast bowling partner Griffith saw the arrival of the West Indies pace duo in England for the 1963 Test series "greeted with the public awe and press build-up formerly accorded to [the Australians] Ted McDonald and Jack Gregory or Ray Lindwall and Keith Miller." Before the tour, Hall and fellow professional cricketers Garry Sobers and Rohan Kanhai threatened to withdraw from the team unless paid the equivalent of their professional earnings they had forsaken. Only the intervention of captain Frank Worrell saw the three join the tour. The West Indies, with their "sparkling batting, bowling and fielding", won the series three Tests to one and captured the imagination of the English public. While Hall had a successful series—taking 16 wickets at an average of 33.37—it was Griffith who was the main destroyer for the West Indies. Hall was "the ideal foil" for Griffith and played an invaluable support role. As a partnership, Hall and Griffith were "the centre of attraction and the key to victory".
Analysis of film footage at this time showed Hall bowling at 103 mph. With Griffiths bowling from the other end batsmen had nowhere to hide.
Perhaps Hall's greatest performance of the English summer was in the second Test at Lord's. On the final day of the Test, Hall bowled unchanged for 200 minutes, broken only by the tea interval. As in the Tied Test in Brisbane three years earlier, Hall found himself bowling the final over of the match with both sides still capable of winning. In the innings as a whole Hall bowled 40 overs for a return of 4/93 but despite Hall's brave efforts, England managed to hold on for a draw—the England batsman Colin Cowdrey returned to the crease with a broken arm to help save the match. The Times said of Hall that day, "His energy was astonishing, his stamina inexhaustible, his speed awesome, from the first ball to the last". Hall himself claimed that it was his "finest hour". There was a sour note in the final Test at The Oval when Hall was informally warned about intimidatory bowling. Hall bowled two successive bouncers to the England opening batsman Brian Bolus, prompting umpire Syd Buller to speak with West Indies captain Worrell saying, "We don't want this sort of bowling to get out of hand otherwise I will have to speak to the bowler." Later than innings, Griffith was formally warned by the same umpire.
The Australian tour of the West Indies in 1964–65 was somewhat overshadowed by concerns about the bowling action of Griffith, whom the visitors considered a "chucker". Regardless, Hall again started a Test series strongly. In the first Test at Sabina Park—Hall's favourite hunting ground—Hall took 5/60 in the first innings and then 4/45 in the second to play a leading role in the West Indies victory. Wisden was of the opinion that Hall "probably never bowled faster or straighter." It was "the most important single contribution of bowling in the five Tests" but Hall was not as effective in the remainder of the series, taking only seven wickets in the following four Tests. West Indies held on to win the series two Tests to one—the first time the West Indies defeated Australia in a Test series.
Exhausted volcano
As a result of their huge support in 1963, the West Indies were invited to tour England again only three years later. Despite the England press and public fearing the impact of Hall and his partner Griffith, it was soon clear that their powers had waned somewhat since 1963. Hall's "action was as poetic as ever and his commitment was just as great, but something was missing." He captured 18 wickets in the five Tests at an average of 30.83. However, Hall was still considered "the key man of the [West Indies] attack" and on occasion was still as damaging as ever. His finest moment of the series was in the fourth Test at Headingley where a "spell of eighty minutes by Hall at his fastest and best destroyed England" aiding his team to win the match by an innings and 55 runs and wrap up the series and the Wisden Trophy.
In 1966, the Trinidad-based company West Indian Tobacco (WITCO) engaged Hall on a three-year contract to promote youth cricket in Trinidad and Tobago, including playing for the Trinidad and Tobago national team in the Shell Shield, the West Indies first-class cricket championship. One of Hall's first roles for WITCO was to promote the Wes Hall Youth Cricket League, a new nation-wide junior cricket league.
Hall accompanied the West Indies cricket team to India and Ceylon in 1966–67 but was a shadow of the bowler that cut a swathe through India in earlier series. He injured his left knee during a net session early in the tour and the sub-continental pitches neutered his speed. Hall started the first Test of the series at Bombay in style, capturing two early wickets in a "superb" spell, "worthy of a great fast bowler" but did not take another wicket in the match. Wisden said of Hall's efforts in the series; "He could not bowl with the sustained hostility of old, and his form was erratic."
The slow decline of Hall as an effective Test match bowler became clearer after the home series against England in 1967–68. Hall "bowled with his old enthusiasm" in the second Test at Kingston, albeit on a pitch described by Wisden as "crazy paving" but as the series continued the England batsmen took a heavy toll on Hall and his long-time partner Griffith. Still, such was their prestige and their perceived psychological advantage over the English that the West Indies selectors stuck with the pair for the entire series. In the four Tests he played, Hall took only 9 wickets and those at an average of 39.22. In a summary of the tour Wisden said "In the event Hall proved to be little more than a shadow of the great fast bowler he had been. His pace was no longer to be feared ..."
The West Indies captain Garry Sobers had to fight with the selectors to have Hall included in the West Indies team to tour Australia and New Zealand in 1968–69. The West Indies Test selection panel told Sobers that Hall was "past his best" and that he would be left out of the team. Sobers still considered Hall one of the best bowlers in the Caribbean and insisted on his selection, threatening to withdraw from the tour himself if he did not get his man in the squad. The selectors eventually conceded and Hall was included in the touring party but—according to Sobers — one of the selectors was told to tell Hall he was only picked because of pressure from the captain. As it turned out Hall only played in two of the Tests in Australia with Wisden noting that "old age, as cricketers go, had finally had its say". The once fearsome pair of Hall and Griffith now "resembled exhausted volcanoes." Hall played the first Test against New Zealand at Eden Park in Auckland. Hall sustained an injury and was not able to complete the match, having bowled only 16 overs for the match and taking a solitary wicket. Hall was still unfit to play by the time the second Test started and never again played Test cricket.
After Test cricket
After the New Zealand tour, Hall joined the Barbados team for a short tour of England. Hall played two first-class matches on the tour, capturing two wickets at an average of 53.00. Hall then returned to Trinidad to complete his last season in the Shell Shield and his contract with WITCO. Hall met with moderate success, taking 15 wickets for Trinidad at a respectable average of 22.46. Hall's last first-class match was for Barbados against the touring Indians in 1971.
Before Hall left Trinidad in 1970, Gerard Pantin — a Catholic priest in the Holy Ghost Fathers order — asked Hall if he would assist him in forming a humanitarian program to assist the poor and marginalised residents of the Laventille community. Hall agreed and together the two men walked through the dangerous neighbourhood, simply asking the residents how they could help them. This mission grew to become the SERVOL (Service Volunteered For All) voluntary organisation that now operates throughout Trinidad and Tobago and elsewhere in the Caribbean. While Hall returned to Barbados three months after the program started, he is recognised as one of SERVOL's co-founders.
Hall has served Barbados and West Indian cricket in a variety of roles since the end of his playing days including chairing the West Indies selection panel for some years. Hall also accompanied many touring West Indies teams as manager, including the ill-fated 1995 tour of England, marred by player unrest. In 2001 Hall was elected president of the West Indies Cricket Board. During his time as president Hall was instrumental in attracting the 2007 Cricket World Cup to the West Indies. Hall also developed a system of collective bargaining with the West Indies Players Association. Hall chose not to stand for re-election in 2003, citing health problems. Hall was a member of the board of directors of the Stanford 20/20 cricket project.
At the end of his career as a cricketer, Hall reflected, "I realised that I’d been playing for ten years, and I was married with three children and I didn’t have any money." After working with SERVOL in Trinidad, Hall "knew from that moment on, [he] would commit [his] life to service." He studied Industrial Relations and Human Resource Management at the Industrial Society in London and then returned to Cable and Wireless in Barbados to take a role as Regional Staff Welfare Manager. As well as his role with WITCO in Trinidad, Hall also had high-profile roles in private enterprise with Banks Barbados Brewery and Sandals Resorts.
Hall became involved in Barbadian politics, joining the Democratic Labour Party. First appointed to the Barbados Senate, Hall was later elected to the House of Assembly. Hall was elected as the representative for the Assembly constituency of St. Michael West Central in 1986 and re-elected in 1991. In 1987, Hall was appointed Minister of Tourism and Sports in the Government of Barbados. As Tourism Minister, Hall has been given credit for developing the sports tourism market in Barbados.
On a visit to Florida in 1990, Hall attended a Christian religious service. Impressed by the preacher, during the service, Hall "made a very serious decision to give [his] heart and life to God." Hall attended Bible school and was later ordained a minister in the Christian Pentecostal Church. Notably, Hall ministered to fellow Barbadian fast bowler Malcolm Marshall while Marshall was dying from colon cancer.
Hall is a member of the West Indies Cricket Hall of Fame. and the ICC Cricket Hall of Fame. For his work in tourism, Hall has been awarded the Caribbean Tourism Organisation's Lifetime Achievement Award. The University of the West Indies awarded Hall an honorary Doctorate of Laws in 2005. Hall and fellow Barbadian fast bowler Charlie Griffith have a grandstand at Kensington Oval named after them—the Hall & Griffith Stand. Hall was knighted in the 2012 Birthday Honours for services to sport and the community.
Style and personality
Hall was a tall and muscular cricketer, tall and bearing the "physique and strength of a bodybuilder." He had a graceful, classical action and one of the longest run-ups in Test cricket. A genuinely fast bowler, he was timed at . Hall was able to sustain pace and hostility for very long spells—during the Test against England at Lord's in 1963 he bowled unchanged for over three hours on the final day. While Hall was an aggressive fast bowler, he was not one to set out to injure the batsman. The England cricketer Ted Dexter—himself hit several times by Hall—said "there was never a hint of malice in [Hall] or in his bowling". Hall himself said after one of his deliveries fractured Australian cricketer Wally Grout's jaw "It made me sick to see Wal leaving and it made me sicker to hear some jokers in the crowd ranting on as though I had intentionally hurt [Grout]".
While Hall could never be described as an all-rounder, on occasions he was an effective batsman. His one century in first-class cricket was against Cambridge University Cricket Club at Fenner's—scored in 65 minutes, the fastest century of the 1963 English season. Wisden said of this innings, "[Hall's] batting promised so much ... [he] made his runs in the classic mould, not in the unorthodox manner usually adopted by fast bowlers." With his characteristic humour, Hall said of this innings, "Ah, but it wasn't any old hundred, it was against the intelligentsia."
Hall was one of the most popular cricketers of his day. The Australian commentator Johnnie Moyes described Hall as "a rare box-office attraction, a man who caught and held the affections of the paying public." Hall was particularly popular in Australia. When invited back to play for Queensland in the Sheffield Shield in 1961–62, Hall arrived in Brisbane to "scenes more in keeping with the arrival of a pop star, a thousand people jamming the old terminal building at Eagle Farm airport to welcome him." Hall was fond of a bet and was a keen follower of horseracing. Hall is known as a good humoured man; C. L. R. James observed "Hall simply exudes good nature at every pore." Tony Cozier states "[Hall] is renowned for his entertaining, if prolonged oratory, as well as for his tardiness."
Publications
Pace Like Fire (1965)
Notes
References
External links
1937 births
Living people
Barbadian cricketers
Barbados cricketers
Barbadian knights
Commonwealth XI cricketers
Queensland cricketers
Trinidad and Tobago cricketers
West Indies Test cricketers
International Cavaliers cricketers
Test cricket hat-trick takers
West Indies cricket team selectors
Government ministers of Barbados
Members of the Senate of Barbados
Members of the House of Assembly of Barbados
Pentecostal pastors
People educated at Combermere School
Cricket players and officials awarded knighthoods
Barbadian sportsperson-politicians
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"Since the first human spaceflight by the Soviet Union, citizens of 42 countries have flown in space. For each nationality, the launch date of the first mission is listed. The list is based on the nationality of the person at the time of the launch. Only 3 of the 42 \"first flyers\" have been women (Helen Sharman for the United Kingdom in 1991, Anousheh Ansari for Iran in 2006, and Yi So-yeon for South Korea in 2008). Only three nations (Soviet Union/Russia, U.S., China) have launched their own crewed spacecraft, with the Soviets/Russians and the American programs providing rides to other nations' astronauts. Twenty-seven \"first flights\" occurred on Soviet or Russian flights while the United States carried fourteen.\n\nTimeline\nNote: All dates given are UTC. Countries indicated in bold have achieved independent human spaceflight capability.\n\nNotes\n\nOther claims\nThe above list uses the nationality at the time of launch. Lists with differing criteria might include the following people:\n Pavel Popovich, first launched 12 August 1962, was the first Ukrainian-born man in space. At the time, Ukraine was a part of the Union of Soviet Socialist Republics.\n Michael Collins, first launched 18 July 1966 was born in Italy to American parents and was an American citizen when he went into space.\n William Anders, American citizen, first launched 21 December 1968, was the first Hong Kong-born man in space.\n Vladimir Shatalov, first launched 14 January 1969, was the first Kazakh-born man in space. At the time, Kazakhstan was a part of the Union of Soviet Socialist Republics.\n Bill Pogue, first launched 16 November 1973, as an inductee to the 5 Civilized Tribes Hall of Fame can lay claim to being the first Native American in space. See John Herrington below regarding technicality of tribal registration.\n Pyotr Klimuk, first launched 18 December 1973, was the first Belorussian-born man in space. At the time, Belarus was a part of the Union of Soviet Socialist Republics.\n Vladimir Dzhanibekov, first launched 16 March 1978, was the first Uzbek-born man in space. At the time, Uzbekistan was a part of the Union of Soviet Socialist Republics.\n Paul D. Scully-Power, first launched 5 October 1984, was born in Australia, but was an American citizen when he went into space; Australian law at the time forbade dual-citizenship.\n Taylor Gun-Jin Wang, first launched 29 April 1985, was born in China to Chinese parents, but was an American citizen when he went into space.\n Lodewijk van den Berg, launched 29 April 1985, was born in the Netherlands, but was an American citizen when he went into space.\n Patrick Baudry, first launched 17 June 1985, was born in French Cameroun (now part of Cameroon), but was a French citizen when he went into space.\n Shannon Lucid, first launched 17 June 1985, was born in China to American parents of European descent, and was an American citizen when she went into space.\n Franklin Chang-Diaz, first launched 12 January 1986, was born in Costa Rica, but was an American citizen when he went into space\n Musa Manarov, first launched 21 December 1987, was the first Azerbaijan-born man in space. At the time, Azerbaijan was a part of the Union of Soviet Socialist Republics.\n Anatoly Solovyev, first launched 7 June 1988, was the first Latvian-born man in space. At the time, Latvia was a part of the Union of Soviet Socialist Republics.\n Sergei Konstantinovich Krikalev and Aleksandr Aleksandrovich Volkov became Russian rather than Soviet citizens while still in orbit aboard Mir, making them the first purely Russian citizens in space.\n James H. Newman, American citizen, first launched 12 September 1993, was born in the portion of the United Nations Trust Territory of the Pacific Islands that is now the Federated States of Micronesia.\n Talgat Musabayev, first launched 1 July 1994, was born in the Kazakh SSR and is known in Kazakhstan as the \"first cosmonaut of independent Kazakhstan\", but was a Russian citizen when he went into space.\n Frederick W. Leslie, American citizen, launched 20 October 1995, was born in Panama Canal Zone (now Panama).\n Andy Thomas, first launched 19 May 1996, was born in Australia but like Paul D. Scully-Power was an American citizen when he went to space; Australian law at the time forbade dual-citizenship.\n Carlos I. Noriega, first launched 15 May 1997, was born in Peru, but was an American citizen when he went into space.\n Bjarni Tryggvason, launched 7 August 1997, was born in Iceland, but was a Canadian citizen when he went into space.\n Salizhan Sharipov, first launched 22 January 1998, was born in Kyrgyzstan (then the Kirghiz SSR), but was a Russian citizen when he went into space. Sharipov is of Uzbek ancestry.\n Philippe Perrin, first launched 5 June 2002, was born in Morocco, but was a French citizen when he went into space.\n John Herrington, an American citizen first launched 24 November 2002, is the first tribal registered Native American in space (Chickasaw). See also Bill Pogue above.\n Fyodor Yurchikhin, first launched 7 October 2002, was born in Georgia (then the Georgian SSR). He was a Russian citizen at the time he went into space and is of Pontian Greek descent.\n Joseph M. Acaba, first launched 15 March 2009, was born in the U.S. state of California to American parents of Puerto Rican descent.\n\nGallery\n\nReferences\n\nExternal links\nCurrent Space Demographics, compiled by William Harwood, CBS News Space Consultant, and Rob Navias, NASA.\n\nLists of firsts in space\nSpaceflight timelines",
"This is a list of notable books by young authors and of books written by notable writers in their early years. These books were written, or substantially completed, before the author's twentieth birthday. \n\nAlexandra Adornetto (born 18 April 1994) wrote her debut novel, The Shadow Thief, when she was 13. It was published in 2007. Other books written by her as a teenager are: The Lampo Circus (2008), Von Gobstopper's Arcade (2009), Halo (2010) and Hades (2011).\nMargery Allingham (1904–1966) had her first novel, Blackkerchief Dick, about smugglers in 17th century Essex, published in 1923, when she was 19.\nJorge Amado (1912–2001) had his debut novel, The Country of Carnival, published in 1931, when he was 18.\nPrateek Arora wrote his debut novel Village 1104 at the age of 16. It was published in 2010.\nDaisy Ashford (1881–1972) wrote The Young Visiters while aged nine. This novella was first published in 1919, preserving her juvenile punctuation and spelling. An earlier work, The Life of Father McSwiney, was dictated to her father when she was four. It was published almost a century later in 1983.\nAmelia Atwater-Rhodes (born 1984) had her first novel, In the Forests of the Night, published in 1999. Subsequent novels include Demon in My View (2000), Shattered Mirror (2001), Midnight Predator (2002), Hawksong (2003) and Snakecharm (2004).\nJane Austen (1775–1817) wrote Lady Susan, a short epistolary novel, between 1793 and 1795 when she was aged 18-20.\nRuskin Bond (born 1934) wrote his semi-autobiographical novel The Room on the Roof when he was 17. It was published in 1955.\nMarjorie Bowen (1885–1952) wrote the historical novel The Viper of Milan when she was 16. Published in 1906 after several rejections, it became a bestseller.\nOliver Madox Brown (1855–1874) finished his novel Gabriel Denver in early 1872, when he was 17. It was published the following year.\nPamela Brown (1924–1989) finished her children's novel about an amateur theatre company, The Swish of the Curtain (1941), when she was 16 and later wrote other books about the stage.\nCeleste and Carmel Buckingham wrote The Lost Princess when they were 11 and 9.\nFlavia Bujor (born 8 August 1988) wrote The Prophecy of the Stones (2002) when she was 13.\nLord Byron (1788–1824) published two volumes of poetry in his teens, Fugitive Pieces and Hours of Idleness.\nTaylor Caldwell's The Romance of Atlantis was written when she was 12.\n (1956–1976), Le Don de Vorace, was published in 1974.\nHilda Conkling (1910–1986) had her poems published in Poems by a Little Girl (1920), Shoes of the Wind (1922) and Silverhorn (1924).\nAbraham Cowley (1618–1667), Tragicall History of Piramus and Thisbe (1628), Poetical Blossoms (published 1633).\nMaureen Daly (1921–2006) completed Seventeenth Summer before she was 20. It was published in 1942.\nJuliette Davies (born 2000) wrote the first book in the JJ Halo series when she was eight years old. The series was published the following year.\nSamuel R. Delany (born 1 April 1942) published his The Jewels of Aptor in 1962.\nPatricia Finney's A Shadow of Gulls was published in 1977 when she was 18. Its sequel, The Crow Goddess, was published in 1978.\nBarbara Newhall Follett (1914–1939) wrote her first novel The House Without Windows at the age of eight. The manuscript was destroyed in a house fire and she later retyped her manuscript at the age of 12. The novel was published by Knopf publishing house in January 1927.\nFord Madox Ford (né Hueffer) (1873–1939) published in 1892 two children's stories, The Brown Owl and The Feather, and a novel, The Shifting of the Fire.\nAnne Frank (1929–1945) wrote her diary for two-and-a-half years starting on her 13th birthday. It was published posthumously as Het Achterhuis in 1947 and then in English translation in 1952 as Anne Frank: The Diary of a Young Girl. An unabridged translation followed in 1996.\nMiles Franklin wrote My Brilliant Career (1901) when she was a teenager.\nAlec Greven's How to Talk to Girls was published in 2008 when he was nine years old. Subsequently he has published How to Talk to Moms, How to Talk to Dads and How to Talk to Santa.\nFaïza Guène (born 1985) had Kiffe kiffe demain published in 2004, when she was 19. It has since been translated into 22 languages, including English (as Kiffe Kiffe Tomorrow).\nSonya Hartnett (born 1968) was thirteen years old when she wrote her first novel, Trouble All the Way, which was published in Australia in 1984.\nAlex and Brett Harris wrote the best-selling book Do Hard Things (2008), a non-fiction book challenging teenagers to \"rebel against low expectations\", at age 19. Two years later came a follow-up book called Start Here (2010).\nGeorgette Heyer (1902–1974) wrote The Black Moth when she was 17 and received a publishing contract when she was 18. It was published just after she turned 19.\nSusan Hill (born 1942), The Enclosure, published in 1961.\nS. E. Hinton (born 1948), The Outsiders, first published in 1967.\nPalle Huld (1912–2010) wrote A Boy Scout Around the World (Jorden Rundt i 44 dage) when he was 15, following a sponsored journey around the world.\nGeorge Vernon Hudson (1867–1946) completed An Elementary Manual of New Zealand Entomology at the end of 1886, when he was 19, but not published until 1892.\nKatharine Hull (1921–1977) and Pamela Whitlock (1920–1982) wrote the children's outdoor adventure novel The Far-Distant Oxus in 1937. It was followed in 1938 by Escape to Persia and in 1939 by Oxus in Summer.\nLeigh Hunt (1784–1859) published Juvenilia; or, a Collection of Poems Written between the ages of Twelve and Sixteen by J. H. L. Hunt, Late of the Grammar School of Christ's Hospital in March 1801.\nKody Keplinger (born 1991) wrote her debut novel The DUFF when she was 17.\nGordon Korman (born 1963), This Can't Be Happening at Macdonald Hall (1978), three sequels, and I Want to Go Home (1981).\nMatthew Gregory Lewis (1775–1818) wrote the Gothic novel The Monk, now regarded as a classic of the genre, before he was twenty. It was published in 1796.\nNina Lugovskaya (1918–1993), a painter, theater director and Gulag survivor, kept a diary in 1932–37, which shows strong social sensitivities. It was found in the Russian State Archives and published 2003. It appeared in English in the same year.\nJoyce Maynard (born 1953) completed Looking Back while she was 19. It was first published in 1973.\nMargaret Mitchell (1900–1949) wrote her novella Lost Laysen at the age of fifteen and gave the two notebooks containing the manuscript to her boyfriend, Henry Love Angel. The novel was published posthumously in 1996.\nBen Okri, the Nigerian poet and novelist, (born 1959) wrote his first book Flowers and Shadows while he was 19.\nAlice Oseman(born 1994) wrote the novel Solitaire when she was 17 and it was published in 2014.\nHelen Oyeyemi (born 1984) completed The Icarus Girl while still 18. First published in 2005.\nChristopher Paolini (born 1983) had Eragon, the first novel of the Inheritance Cycle, first published 2002.\nEmily Pepys (1833–1877), daughter of a bishop, wrote a vivid private journal over six months of 1844–45, aged ten. It was discovered much later and published in 1984.\nAnya Reiss (born 1991) wrote her play Spur of the Moment when she was 17. It was both performed and published in 2010, when she was 18.\nArthur Rimbaud (1854–1891) wrote almost all his prose and poetry while still a teenager, for example Le Soleil était encore chaud (1866), Le Bateau ivre (1871) and Une Saison en Enfer (1873).\nJohn Thomas Romney Robinson (1792–1882) saw his juvenile poems published in 1806, when he was 13.\nFrançoise Sagan (1935–2004) had Bonjour tristesse published in 1954, when she was 18.\nMary Shelley (1797–1851) completed Frankenstein; or, The Modern Prometheus during May 1817, when she was 19. It was first published in the following year.\nMattie Stepanek (1990–2004), an American poet, published seven best-selling books of poetry.\nJohn Steptoe (1950–1989), author and illustrator, began his picture book Stevie at 16. It was published in 1969 in Life.\nAnna Stothard (born 1983) saw her Isabel and Rocco published when she was 19.\nDorothy Straight (born 1958) in 1962 wrote How the World Began, which was published by Pantheon Books in 1964. She holds the Guinness world record for the youngest female published author.\nJalaluddin Al-Suyuti (c. 1445–1505) wrote his first book, Sharh Al-Isti'aadha wal-Basmalah, at the age of 17.\nF. J. Thwaites (1908–1979) wrote his bestselling novel The Broken Melody when he was 19.\nJohn Kennedy Toole (1937–1969) wrote The Neon Bible in 1954 when he was 16. It was not published until 1989.\nAlec Waugh (1898–1981) wrote his novel about school life, The Loom of Youth, after leaving school. It was published in 1917.\nCatherine Webb (born 1986) had five young adult books published before she was 20: Mirror Dreams (2002), Mirror Wakes (2003), Waywalkers (2003), Timekeepers (2004) and The Extraordinary and Unusual Adventures of Horatio Lyle (February 2006).\nNancy Yi Fan (born 1993) published her debut Swordbird when she was 12. Other books she published as a teenager include Sword Quest (2008) and Sword Mountain (2012).\nKat Zhang (born 1991) was 20 when she sold, in a three-book deal, her entire Hybrid Chronicles trilogy. The first book, What's Left of Me, was published 2012.\n\nSee also \nLists of books\n\nReferences \n\nBooks Written By Children and Teenagers\nbooks\nChildren And Teenagers, Written By\nChi"
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Where was he born?
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Where was Wes Hall born?
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Wes Hall
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Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King. After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise". Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER
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in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--
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Sir Wesley Winfield Hall (born 12 September 1937) is a Barbadian former cricketer and politician. A tall, strong and powerfully built man, Hall was a genuine fast bowler and despite his very long run up, he was renowned for his ability to bowl long spells. Hall played 48 Test matches for the West Indies from 1958 to 1969. Hall's opening bowling partnership with fellow Barbadian Charlie Griffith was a feature of the strong West Indies teams throughout the 1960s. Hall was one of the most popular cricketers of his day and was especially popular in Australia, where he played two seasons in the Sheffield Shield with Queensland.
A wicket-keeper/batsman as a schoolboy, Hall did not take up fast bowling until relatively late. He was included in the West Indies squad to tour England in 1957 having only played one match of first-class cricket. He made his Test cricket debut against India in 1958 and was instantly successful. He took a Test hat-trick in Pakistan in 1959, the first West Indian cricketer to do so. Hall bowled the final over in two famous Test matches, the Tied Test against Australia in 1960 and the Lord's Test against England in 1963. Years of non-stop cricket and resultant injury reduced Hall's effectiveness in the latter part of his Test career.
After his playing days Hall entered Barbadian politics, serving in both the Barbados Senate and House of Assembly and appointed Minister of Tourism in 1987. He was also involved in the administration of West Indies cricket as a selector and team manager and served as President of the West Indies Cricket Board from 2001 to 2003. Hall was later ordained a minister in the Christian Pentecostal Church. He is a member of the ICC Cricket Hall of Fame and the West Indies Cricket Hall of Fame. In 2012 he was created a Knight Bachelor for services to sport and the community.
Early life and career
Hall was born in Saint Michael, Barbados—"just outside the walls of [HM Prison] Glendairy"—to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.
After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".
Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957–58.
Test career
Debut and hat-trick
Originally left out of the West Indies team to tour India and Pakistan in 1958–59, Hall was called into the team as a backup for the Trinidadian Jaswick Taylor after the all-rounder Frank Worrell withdrew from the team at a late stage. Hall met with some success an early match against Baroda, taking 5 wickets for 41 runs (5/41) in Baroda's second innings. This performance saw Hall overtake Taylor to become the first-choice partner of Roy Gilchrist in the Test team. The pair had a highly successful Test series against the Indians with Wisden Cricketers' Almanack describing the duo as "two fearsome opening bowlers reminiscent of the days of [Manny] Martindale and [Learie] Constantine."
Hall made his debut in the first Test against India at Brabourne Stadium at Bombay and met with almost instant success. He dismissed the Indian opener Nari Contractor for a duck and quickly followed than with the wickets of Pankaj Roy and Vijay Manjrekar. In what ended as a dour draw, Hall finished with 3/35 in the first innings and 1/72 in the second. When Gilchrist was dropped from the second Test at Modi Stadium in Kanpur, Hall—in only his second Test match—was given the responsibility of leading the West Indies bowling attack. Hall was equal to the task, playing "a decisive part in India's downfall" taking 11 wickets in the match. Over the entire five Test series—won by the West Indies three Tests to nil—Hall and Gilchrist terrorised the Indian batsman, who had neither the "experience or the physical capacity" to stand up to the West Indian fast bowling duo.
The West Indies were not as successful in the three Test series against Pakistan, losing the first two Tests before winning the final Test—the first time Pakistan had lost a Test match at home. Hall bowled well in both the matches, however. In the second Test at Dacca, Hall relied on movement through the air rather than sheer pace and had Pakistan reeling on stage, five wickets down for only 22 runs made (22–5) In the third Test at Bagh-e-Jinnah in Lahore, Hall made history by becoming the first West Indian to take a hat-trick in Test cricket. His victims were Mushtaq Mohammad (aged 15 and in his debut Test match, at the time the youngest cricketer to play Test cricket), Nasim-ul-Ghani and Fazal Mahmood.
Hall once again performed well when England toured the West Indies in 1959–60. Wisden remarked that Hall "with a lovely action, genuine speed and remarkable stamina" was "always the biggest threat to England." Hall came close to winning the third Test at Sabina Park in Jamaica for the West Indies on the first day when England were reduced to 165/5 at stumps, Hall having captured five of the wickets to fall. Only Colin Cowdrey was able to stand in his way with Hall finishing the innings with 7/69, his best bowling figures in Test cricket. In the third Test in a placid pitch at Bourda in British Guiana, Hall again broke the back of England's batting taking six wickets for 90 runs in the England first innings. This included bowling M. J. K. Smith out for a duck for the second Test in a row. Hall played alongside his great partner Charlie Griffith in Test cricket for the first time in the fifth Test at Port of Spain. By this stage, Hall had "burned himself out" and he bowled only four overs in the England second innings as the West Indies pushed for a series-equalling win. Unfortunately for the West Indies and Hall, England held on for a draw and won the series one Test to nil.
In April 1960, Hall began the first of his three seasons as a professional with Accrington Cricket Club in the Lancashire League. Hall was first offered a contract by Accrington for the 1959 season, which he turned down through loyalty to his employer in Barbados who had provided him with leave to tour England. Hall was a success in League cricket, capturing 100 wickets in the 1960 season, 106 wickets in the 1961 season (when Accrington won the Lancashire League championship) and 123 wickets in the 1962 season, falling just short of the then-League record. Hall also managed to capture 10 wickets in an innings on two occasions with Accrington, 10/57 against Burnley and 10/28 against Bacup. Hall left Accrington in 1964 to take up a less restrictive contract with Great Chell Cricket Club in the Staffordshire League. During the 1964 season, Hall married his childhood sweetheart Shurla in Liverpool.
Success in Australia
The 1960–61 Test series against Australia is one of the most famous in the history of Test cricket and Hall played a major role in its outcome. The first Test in the series at the Gabba in Brisbane had a thrilling finish. The West Indies set Australia a target of 233 runs to win the match. Hall broke through early, taking the wickets of Bob Simpson and Neil Harvey, followed, after some stubborn resistance, by Norm O'Neill. The West Indies captain Frank Worrell then dismissed Colin McDonald before Hall struck again for his fourth wicket, Les Favell caught by Joe Solomon. Australia were 57/5 and the West Indies seemed set to win the match. After the sixth Australian wicket fell with Australia having made only 92 runs, the Australian captain Richie Benaud came to the crease to join Alan Davidson. Together the pair took Australia to 226/7 and now Australia looked assured victors with only 7 runs to get. Joe Solomon then turned the game again with a direct hit on the stumps to run out Davidson. Hall was entrusted by his captain Worrell to bowl the last over of the day with Australia needing four runs and West Indies needing three wickets to win the game. In one of the most exciting finishes in Test match history, Hall had Benaud caught behind, then dropped a catch and two Australian batsmen were run out trying to make the winning run. The match finished in a tie, the first in Test cricket.
Hall bowled well in the second Test at the Melbourne Cricket Ground, taking 4/51 in the first innings and another two wickets "bowling at his fastest" in the second innings in which Australia comfortably made the 70 runs they needed to win the Test. The pitches used in the remaining three Test of the series favoured slow bowling and Hall did not play as large a role from that point on. West Indies won the third Test, the fourth Test was a thrilling draw but Australia won the final Test, at Melbourne again, to win the series two Tests to one. Over the course of the series both teams had striven to play bright, attractive cricket and the Australian public took the West Indian team to their hearts. Hall and the West Indies were farewelled with a ticker-tape parade through the streets of Melbourne. Hundreds of thousands of Australians keen to express their appreciation for the team brought the city to a standstill and reportedly brought Hall and his teammates to tears. Hall later described the spontaneous display of affection from the public as one usually "reserved for royalty or the Beatles".
His popularity in Australia saw Hall invited to play with Queensland for the 1961–62 Sheffield Shield season. Hall enjoyed an immensely successful season with Queensland and a key part of the team's second place in the Sheffield Shield competition—behind perennial powerhouse New South Wales. Hall took 43 wickets for the season at an average of 20.25, trailing only Richie Benaud of New South Wales in the season aggregate. Hall's 43 wickets set a new record for a Queensland bowler in a first-class cricket season. Hall returned for a second season with Queensland in 1962–63, taking 33 wickets for the season as Queensland again finished runner-up in the Sheffield Shield, this time to Victoria. Towards the end of Hall's second season, it became clear that the demands of playing cricket 12 months of the year were starting to take a toll on Hall. Queensland were keen to see Hall return for another season in 1963–64 but Hall declined, fearing his body would not stand up to the strain.
Finest hour
After his first season with Queensland, Hall returned to the Caribbean to join the West Indies team in their Test series against India in 1962. Hall took up where he left off against the Indians two years before. The Indians were a better batting side than the one Hall destroyed in the sub-continent in 1960 but they were still unable to come to terms with his pace. The West Indies won the series 5 Tests to nil and Hall took 27 wickets at an average of 15.74. When the second Test at Sabina Park was heading towards what looked to be a tame draw on a placid pitch, Hall broke the game wide open with some "grand bowling", taking 6/49 and West Indies won the match by an innings. In the fourth Test at Queens Park Oval, Hall was part of a 93-run partnership for the last wicket, making 50 runs himself. He then scythed through the Indian top order, taking the first five wickets of the innings to have India at 30/5 at one stage, a position they could not recover from.
These efforts led him to achieve the No. 1 ranking in ICC Test Bowlers ranking for 1962.
The success of Hall and his fast bowling partner Griffith saw the arrival of the West Indies pace duo in England for the 1963 Test series "greeted with the public awe and press build-up formerly accorded to [the Australians] Ted McDonald and Jack Gregory or Ray Lindwall and Keith Miller." Before the tour, Hall and fellow professional cricketers Garry Sobers and Rohan Kanhai threatened to withdraw from the team unless paid the equivalent of their professional earnings they had forsaken. Only the intervention of captain Frank Worrell saw the three join the tour. The West Indies, with their "sparkling batting, bowling and fielding", won the series three Tests to one and captured the imagination of the English public. While Hall had a successful series—taking 16 wickets at an average of 33.37—it was Griffith who was the main destroyer for the West Indies. Hall was "the ideal foil" for Griffith and played an invaluable support role. As a partnership, Hall and Griffith were "the centre of attraction and the key to victory".
Analysis of film footage at this time showed Hall bowling at 103 mph. With Griffiths bowling from the other end batsmen had nowhere to hide.
Perhaps Hall's greatest performance of the English summer was in the second Test at Lord's. On the final day of the Test, Hall bowled unchanged for 200 minutes, broken only by the tea interval. As in the Tied Test in Brisbane three years earlier, Hall found himself bowling the final over of the match with both sides still capable of winning. In the innings as a whole Hall bowled 40 overs for a return of 4/93 but despite Hall's brave efforts, England managed to hold on for a draw—the England batsman Colin Cowdrey returned to the crease with a broken arm to help save the match. The Times said of Hall that day, "His energy was astonishing, his stamina inexhaustible, his speed awesome, from the first ball to the last". Hall himself claimed that it was his "finest hour". There was a sour note in the final Test at The Oval when Hall was informally warned about intimidatory bowling. Hall bowled two successive bouncers to the England opening batsman Brian Bolus, prompting umpire Syd Buller to speak with West Indies captain Worrell saying, "We don't want this sort of bowling to get out of hand otherwise I will have to speak to the bowler." Later than innings, Griffith was formally warned by the same umpire.
The Australian tour of the West Indies in 1964–65 was somewhat overshadowed by concerns about the bowling action of Griffith, whom the visitors considered a "chucker". Regardless, Hall again started a Test series strongly. In the first Test at Sabina Park—Hall's favourite hunting ground—Hall took 5/60 in the first innings and then 4/45 in the second to play a leading role in the West Indies victory. Wisden was of the opinion that Hall "probably never bowled faster or straighter." It was "the most important single contribution of bowling in the five Tests" but Hall was not as effective in the remainder of the series, taking only seven wickets in the following four Tests. West Indies held on to win the series two Tests to one—the first time the West Indies defeated Australia in a Test series.
Exhausted volcano
As a result of their huge support in 1963, the West Indies were invited to tour England again only three years later. Despite the England press and public fearing the impact of Hall and his partner Griffith, it was soon clear that their powers had waned somewhat since 1963. Hall's "action was as poetic as ever and his commitment was just as great, but something was missing." He captured 18 wickets in the five Tests at an average of 30.83. However, Hall was still considered "the key man of the [West Indies] attack" and on occasion was still as damaging as ever. His finest moment of the series was in the fourth Test at Headingley where a "spell of eighty minutes by Hall at his fastest and best destroyed England" aiding his team to win the match by an innings and 55 runs and wrap up the series and the Wisden Trophy.
In 1966, the Trinidad-based company West Indian Tobacco (WITCO) engaged Hall on a three-year contract to promote youth cricket in Trinidad and Tobago, including playing for the Trinidad and Tobago national team in the Shell Shield, the West Indies first-class cricket championship. One of Hall's first roles for WITCO was to promote the Wes Hall Youth Cricket League, a new nation-wide junior cricket league.
Hall accompanied the West Indies cricket team to India and Ceylon in 1966–67 but was a shadow of the bowler that cut a swathe through India in earlier series. He injured his left knee during a net session early in the tour and the sub-continental pitches neutered his speed. Hall started the first Test of the series at Bombay in style, capturing two early wickets in a "superb" spell, "worthy of a great fast bowler" but did not take another wicket in the match. Wisden said of Hall's efforts in the series; "He could not bowl with the sustained hostility of old, and his form was erratic."
The slow decline of Hall as an effective Test match bowler became clearer after the home series against England in 1967–68. Hall "bowled with his old enthusiasm" in the second Test at Kingston, albeit on a pitch described by Wisden as "crazy paving" but as the series continued the England batsmen took a heavy toll on Hall and his long-time partner Griffith. Still, such was their prestige and their perceived psychological advantage over the English that the West Indies selectors stuck with the pair for the entire series. In the four Tests he played, Hall took only 9 wickets and those at an average of 39.22. In a summary of the tour Wisden said "In the event Hall proved to be little more than a shadow of the great fast bowler he had been. His pace was no longer to be feared ..."
The West Indies captain Garry Sobers had to fight with the selectors to have Hall included in the West Indies team to tour Australia and New Zealand in 1968–69. The West Indies Test selection panel told Sobers that Hall was "past his best" and that he would be left out of the team. Sobers still considered Hall one of the best bowlers in the Caribbean and insisted on his selection, threatening to withdraw from the tour himself if he did not get his man in the squad. The selectors eventually conceded and Hall was included in the touring party but—according to Sobers — one of the selectors was told to tell Hall he was only picked because of pressure from the captain. As it turned out Hall only played in two of the Tests in Australia with Wisden noting that "old age, as cricketers go, had finally had its say". The once fearsome pair of Hall and Griffith now "resembled exhausted volcanoes." Hall played the first Test against New Zealand at Eden Park in Auckland. Hall sustained an injury and was not able to complete the match, having bowled only 16 overs for the match and taking a solitary wicket. Hall was still unfit to play by the time the second Test started and never again played Test cricket.
After Test cricket
After the New Zealand tour, Hall joined the Barbados team for a short tour of England. Hall played two first-class matches on the tour, capturing two wickets at an average of 53.00. Hall then returned to Trinidad to complete his last season in the Shell Shield and his contract with WITCO. Hall met with moderate success, taking 15 wickets for Trinidad at a respectable average of 22.46. Hall's last first-class match was for Barbados against the touring Indians in 1971.
Before Hall left Trinidad in 1970, Gerard Pantin — a Catholic priest in the Holy Ghost Fathers order — asked Hall if he would assist him in forming a humanitarian program to assist the poor and marginalised residents of the Laventille community. Hall agreed and together the two men walked through the dangerous neighbourhood, simply asking the residents how they could help them. This mission grew to become the SERVOL (Service Volunteered For All) voluntary organisation that now operates throughout Trinidad and Tobago and elsewhere in the Caribbean. While Hall returned to Barbados three months after the program started, he is recognised as one of SERVOL's co-founders.
Hall has served Barbados and West Indian cricket in a variety of roles since the end of his playing days including chairing the West Indies selection panel for some years. Hall also accompanied many touring West Indies teams as manager, including the ill-fated 1995 tour of England, marred by player unrest. In 2001 Hall was elected president of the West Indies Cricket Board. During his time as president Hall was instrumental in attracting the 2007 Cricket World Cup to the West Indies. Hall also developed a system of collective bargaining with the West Indies Players Association. Hall chose not to stand for re-election in 2003, citing health problems. Hall was a member of the board of directors of the Stanford 20/20 cricket project.
At the end of his career as a cricketer, Hall reflected, "I realised that I’d been playing for ten years, and I was married with three children and I didn’t have any money." After working with SERVOL in Trinidad, Hall "knew from that moment on, [he] would commit [his] life to service." He studied Industrial Relations and Human Resource Management at the Industrial Society in London and then returned to Cable and Wireless in Barbados to take a role as Regional Staff Welfare Manager. As well as his role with WITCO in Trinidad, Hall also had high-profile roles in private enterprise with Banks Barbados Brewery and Sandals Resorts.
Hall became involved in Barbadian politics, joining the Democratic Labour Party. First appointed to the Barbados Senate, Hall was later elected to the House of Assembly. Hall was elected as the representative for the Assembly constituency of St. Michael West Central in 1986 and re-elected in 1991. In 1987, Hall was appointed Minister of Tourism and Sports in the Government of Barbados. As Tourism Minister, Hall has been given credit for developing the sports tourism market in Barbados.
On a visit to Florida in 1990, Hall attended a Christian religious service. Impressed by the preacher, during the service, Hall "made a very serious decision to give [his] heart and life to God." Hall attended Bible school and was later ordained a minister in the Christian Pentecostal Church. Notably, Hall ministered to fellow Barbadian fast bowler Malcolm Marshall while Marshall was dying from colon cancer.
Hall is a member of the West Indies Cricket Hall of Fame. and the ICC Cricket Hall of Fame. For his work in tourism, Hall has been awarded the Caribbean Tourism Organisation's Lifetime Achievement Award. The University of the West Indies awarded Hall an honorary Doctorate of Laws in 2005. Hall and fellow Barbadian fast bowler Charlie Griffith have a grandstand at Kensington Oval named after them—the Hall & Griffith Stand. Hall was knighted in the 2012 Birthday Honours for services to sport and the community.
Style and personality
Hall was a tall and muscular cricketer, tall and bearing the "physique and strength of a bodybuilder." He had a graceful, classical action and one of the longest run-ups in Test cricket. A genuinely fast bowler, he was timed at . Hall was able to sustain pace and hostility for very long spells—during the Test against England at Lord's in 1963 he bowled unchanged for over three hours on the final day. While Hall was an aggressive fast bowler, he was not one to set out to injure the batsman. The England cricketer Ted Dexter—himself hit several times by Hall—said "there was never a hint of malice in [Hall] or in his bowling". Hall himself said after one of his deliveries fractured Australian cricketer Wally Grout's jaw "It made me sick to see Wal leaving and it made me sicker to hear some jokers in the crowd ranting on as though I had intentionally hurt [Grout]".
While Hall could never be described as an all-rounder, on occasions he was an effective batsman. His one century in first-class cricket was against Cambridge University Cricket Club at Fenner's—scored in 65 minutes, the fastest century of the 1963 English season. Wisden said of this innings, "[Hall's] batting promised so much ... [he] made his runs in the classic mould, not in the unorthodox manner usually adopted by fast bowlers." With his characteristic humour, Hall said of this innings, "Ah, but it wasn't any old hundred, it was against the intelligentsia."
Hall was one of the most popular cricketers of his day. The Australian commentator Johnnie Moyes described Hall as "a rare box-office attraction, a man who caught and held the affections of the paying public." Hall was particularly popular in Australia. When invited back to play for Queensland in the Sheffield Shield in 1961–62, Hall arrived in Brisbane to "scenes more in keeping with the arrival of a pop star, a thousand people jamming the old terminal building at Eagle Farm airport to welcome him." Hall was fond of a bet and was a keen follower of horseracing. Hall is known as a good humoured man; C. L. R. James observed "Hall simply exudes good nature at every pore." Tony Cozier states "[Hall] is renowned for his entertaining, if prolonged oratory, as well as for his tardiness."
Publications
Pace Like Fire (1965)
Notes
References
External links
1937 births
Living people
Barbadian cricketers
Barbados cricketers
Barbadian knights
Commonwealth XI cricketers
Queensland cricketers
Trinidad and Tobago cricketers
West Indies Test cricketers
International Cavaliers cricketers
Test cricket hat-trick takers
West Indies cricket team selectors
Government ministers of Barbados
Members of the Senate of Barbados
Members of the House of Assembly of Barbados
Pentecostal pastors
People educated at Combermere School
Cricket players and officials awarded knighthoods
Barbadian sportsperson-politicians
| false |
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"Miguel Skrobot (Warsaw, 1873 – Curitiba, February 20, 1912) was a businessman Brazilian of Polish origin.\n\nMiguel Skrobot was born in 1873, in Warsaw, Poland, to José Skrobot and Rosa Skrobot. When he was 18 he migrated to Brazil and settled in Curitiba as a merchant.\n\nHe married Maria Pansardi, who was born in Tibagi, Paraná, to Italian immigrants, and she bore him three children. He kept a steam-powered factory where he worked on grinding and toasting coffee beans under the \"Rio Branco\" brand, located on the spot where today stands the square called Praça Zacarias (square located in the center of Curitiba). He also owned a grocery store near Praça Tiradentes (also a square in the center of Curitiba, where the city was born). He died an early death, when he was 39, on February 20, 1912.\n\nReferences\n\n1873 births\n1912 deaths\nBrazilian businesspeople\nPeople from Curitiba\nPolish emigrants to Brazil",
"Adolf von Rauch (22 April 1798 - 12 December 1882) was a German paper manufacturer in Heilbronn, where he was born and died and where he was a major builder of social housing.\n\nPapermakers\n1798 births\n1882 deaths\nPeople from Heilbronn"
] |
[
"Wes Hall",
"Early life and career",
"When was he born?",
"I don't know.",
"Where was he born?",
"in Saint Michael, Barbados--\"just outside the walls of [HM Prison] Glendairy\"--"
] |
C_95b0ad5dc8664cdcbf8d453d8ee9ac92_1
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DId he play sports as a youth?
| 3 |
DId Wes Hall play sports as a youth?
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Wes Hall
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Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King. After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise". Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER
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At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men
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Sir Wesley Winfield Hall (born 12 September 1937) is a Barbadian former cricketer and politician. A tall, strong and powerfully built man, Hall was a genuine fast bowler and despite his very long run up, he was renowned for his ability to bowl long spells. Hall played 48 Test matches for the West Indies from 1958 to 1969. Hall's opening bowling partnership with fellow Barbadian Charlie Griffith was a feature of the strong West Indies teams throughout the 1960s. Hall was one of the most popular cricketers of his day and was especially popular in Australia, where he played two seasons in the Sheffield Shield with Queensland.
A wicket-keeper/batsman as a schoolboy, Hall did not take up fast bowling until relatively late. He was included in the West Indies squad to tour England in 1957 having only played one match of first-class cricket. He made his Test cricket debut against India in 1958 and was instantly successful. He took a Test hat-trick in Pakistan in 1959, the first West Indian cricketer to do so. Hall bowled the final over in two famous Test matches, the Tied Test against Australia in 1960 and the Lord's Test against England in 1963. Years of non-stop cricket and resultant injury reduced Hall's effectiveness in the latter part of his Test career.
After his playing days Hall entered Barbadian politics, serving in both the Barbados Senate and House of Assembly and appointed Minister of Tourism in 1987. He was also involved in the administration of West Indies cricket as a selector and team manager and served as President of the West Indies Cricket Board from 2001 to 2003. Hall was later ordained a minister in the Christian Pentecostal Church. He is a member of the ICC Cricket Hall of Fame and the West Indies Cricket Hall of Fame. In 2012 he was created a Knight Bachelor for services to sport and the community.
Early life and career
Hall was born in Saint Michael, Barbados—"just outside the walls of [HM Prison] Glendairy"—to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.
After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".
Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957–58.
Test career
Debut and hat-trick
Originally left out of the West Indies team to tour India and Pakistan in 1958–59, Hall was called into the team as a backup for the Trinidadian Jaswick Taylor after the all-rounder Frank Worrell withdrew from the team at a late stage. Hall met with some success an early match against Baroda, taking 5 wickets for 41 runs (5/41) in Baroda's second innings. This performance saw Hall overtake Taylor to become the first-choice partner of Roy Gilchrist in the Test team. The pair had a highly successful Test series against the Indians with Wisden Cricketers' Almanack describing the duo as "two fearsome opening bowlers reminiscent of the days of [Manny] Martindale and [Learie] Constantine."
Hall made his debut in the first Test against India at Brabourne Stadium at Bombay and met with almost instant success. He dismissed the Indian opener Nari Contractor for a duck and quickly followed than with the wickets of Pankaj Roy and Vijay Manjrekar. In what ended as a dour draw, Hall finished with 3/35 in the first innings and 1/72 in the second. When Gilchrist was dropped from the second Test at Modi Stadium in Kanpur, Hall—in only his second Test match—was given the responsibility of leading the West Indies bowling attack. Hall was equal to the task, playing "a decisive part in India's downfall" taking 11 wickets in the match. Over the entire five Test series—won by the West Indies three Tests to nil—Hall and Gilchrist terrorised the Indian batsman, who had neither the "experience or the physical capacity" to stand up to the West Indian fast bowling duo.
The West Indies were not as successful in the three Test series against Pakistan, losing the first two Tests before winning the final Test—the first time Pakistan had lost a Test match at home. Hall bowled well in both the matches, however. In the second Test at Dacca, Hall relied on movement through the air rather than sheer pace and had Pakistan reeling on stage, five wickets down for only 22 runs made (22–5) In the third Test at Bagh-e-Jinnah in Lahore, Hall made history by becoming the first West Indian to take a hat-trick in Test cricket. His victims were Mushtaq Mohammad (aged 15 and in his debut Test match, at the time the youngest cricketer to play Test cricket), Nasim-ul-Ghani and Fazal Mahmood.
Hall once again performed well when England toured the West Indies in 1959–60. Wisden remarked that Hall "with a lovely action, genuine speed and remarkable stamina" was "always the biggest threat to England." Hall came close to winning the third Test at Sabina Park in Jamaica for the West Indies on the first day when England were reduced to 165/5 at stumps, Hall having captured five of the wickets to fall. Only Colin Cowdrey was able to stand in his way with Hall finishing the innings with 7/69, his best bowling figures in Test cricket. In the third Test in a placid pitch at Bourda in British Guiana, Hall again broke the back of England's batting taking six wickets for 90 runs in the England first innings. This included bowling M. J. K. Smith out for a duck for the second Test in a row. Hall played alongside his great partner Charlie Griffith in Test cricket for the first time in the fifth Test at Port of Spain. By this stage, Hall had "burned himself out" and he bowled only four overs in the England second innings as the West Indies pushed for a series-equalling win. Unfortunately for the West Indies and Hall, England held on for a draw and won the series one Test to nil.
In April 1960, Hall began the first of his three seasons as a professional with Accrington Cricket Club in the Lancashire League. Hall was first offered a contract by Accrington for the 1959 season, which he turned down through loyalty to his employer in Barbados who had provided him with leave to tour England. Hall was a success in League cricket, capturing 100 wickets in the 1960 season, 106 wickets in the 1961 season (when Accrington won the Lancashire League championship) and 123 wickets in the 1962 season, falling just short of the then-League record. Hall also managed to capture 10 wickets in an innings on two occasions with Accrington, 10/57 against Burnley and 10/28 against Bacup. Hall left Accrington in 1964 to take up a less restrictive contract with Great Chell Cricket Club in the Staffordshire League. During the 1964 season, Hall married his childhood sweetheart Shurla in Liverpool.
Success in Australia
The 1960–61 Test series against Australia is one of the most famous in the history of Test cricket and Hall played a major role in its outcome. The first Test in the series at the Gabba in Brisbane had a thrilling finish. The West Indies set Australia a target of 233 runs to win the match. Hall broke through early, taking the wickets of Bob Simpson and Neil Harvey, followed, after some stubborn resistance, by Norm O'Neill. The West Indies captain Frank Worrell then dismissed Colin McDonald before Hall struck again for his fourth wicket, Les Favell caught by Joe Solomon. Australia were 57/5 and the West Indies seemed set to win the match. After the sixth Australian wicket fell with Australia having made only 92 runs, the Australian captain Richie Benaud came to the crease to join Alan Davidson. Together the pair took Australia to 226/7 and now Australia looked assured victors with only 7 runs to get. Joe Solomon then turned the game again with a direct hit on the stumps to run out Davidson. Hall was entrusted by his captain Worrell to bowl the last over of the day with Australia needing four runs and West Indies needing three wickets to win the game. In one of the most exciting finishes in Test match history, Hall had Benaud caught behind, then dropped a catch and two Australian batsmen were run out trying to make the winning run. The match finished in a tie, the first in Test cricket.
Hall bowled well in the second Test at the Melbourne Cricket Ground, taking 4/51 in the first innings and another two wickets "bowling at his fastest" in the second innings in which Australia comfortably made the 70 runs they needed to win the Test. The pitches used in the remaining three Test of the series favoured slow bowling and Hall did not play as large a role from that point on. West Indies won the third Test, the fourth Test was a thrilling draw but Australia won the final Test, at Melbourne again, to win the series two Tests to one. Over the course of the series both teams had striven to play bright, attractive cricket and the Australian public took the West Indian team to their hearts. Hall and the West Indies were farewelled with a ticker-tape parade through the streets of Melbourne. Hundreds of thousands of Australians keen to express their appreciation for the team brought the city to a standstill and reportedly brought Hall and his teammates to tears. Hall later described the spontaneous display of affection from the public as one usually "reserved for royalty or the Beatles".
His popularity in Australia saw Hall invited to play with Queensland for the 1961–62 Sheffield Shield season. Hall enjoyed an immensely successful season with Queensland and a key part of the team's second place in the Sheffield Shield competition—behind perennial powerhouse New South Wales. Hall took 43 wickets for the season at an average of 20.25, trailing only Richie Benaud of New South Wales in the season aggregate. Hall's 43 wickets set a new record for a Queensland bowler in a first-class cricket season. Hall returned for a second season with Queensland in 1962–63, taking 33 wickets for the season as Queensland again finished runner-up in the Sheffield Shield, this time to Victoria. Towards the end of Hall's second season, it became clear that the demands of playing cricket 12 months of the year were starting to take a toll on Hall. Queensland were keen to see Hall return for another season in 1963–64 but Hall declined, fearing his body would not stand up to the strain.
Finest hour
After his first season with Queensland, Hall returned to the Caribbean to join the West Indies team in their Test series against India in 1962. Hall took up where he left off against the Indians two years before. The Indians were a better batting side than the one Hall destroyed in the sub-continent in 1960 but they were still unable to come to terms with his pace. The West Indies won the series 5 Tests to nil and Hall took 27 wickets at an average of 15.74. When the second Test at Sabina Park was heading towards what looked to be a tame draw on a placid pitch, Hall broke the game wide open with some "grand bowling", taking 6/49 and West Indies won the match by an innings. In the fourth Test at Queens Park Oval, Hall was part of a 93-run partnership for the last wicket, making 50 runs himself. He then scythed through the Indian top order, taking the first five wickets of the innings to have India at 30/5 at one stage, a position they could not recover from.
These efforts led him to achieve the No. 1 ranking in ICC Test Bowlers ranking for 1962.
The success of Hall and his fast bowling partner Griffith saw the arrival of the West Indies pace duo in England for the 1963 Test series "greeted with the public awe and press build-up formerly accorded to [the Australians] Ted McDonald and Jack Gregory or Ray Lindwall and Keith Miller." Before the tour, Hall and fellow professional cricketers Garry Sobers and Rohan Kanhai threatened to withdraw from the team unless paid the equivalent of their professional earnings they had forsaken. Only the intervention of captain Frank Worrell saw the three join the tour. The West Indies, with their "sparkling batting, bowling and fielding", won the series three Tests to one and captured the imagination of the English public. While Hall had a successful series—taking 16 wickets at an average of 33.37—it was Griffith who was the main destroyer for the West Indies. Hall was "the ideal foil" for Griffith and played an invaluable support role. As a partnership, Hall and Griffith were "the centre of attraction and the key to victory".
Analysis of film footage at this time showed Hall bowling at 103 mph. With Griffiths bowling from the other end batsmen had nowhere to hide.
Perhaps Hall's greatest performance of the English summer was in the second Test at Lord's. On the final day of the Test, Hall bowled unchanged for 200 minutes, broken only by the tea interval. As in the Tied Test in Brisbane three years earlier, Hall found himself bowling the final over of the match with both sides still capable of winning. In the innings as a whole Hall bowled 40 overs for a return of 4/93 but despite Hall's brave efforts, England managed to hold on for a draw—the England batsman Colin Cowdrey returned to the crease with a broken arm to help save the match. The Times said of Hall that day, "His energy was astonishing, his stamina inexhaustible, his speed awesome, from the first ball to the last". Hall himself claimed that it was his "finest hour". There was a sour note in the final Test at The Oval when Hall was informally warned about intimidatory bowling. Hall bowled two successive bouncers to the England opening batsman Brian Bolus, prompting umpire Syd Buller to speak with West Indies captain Worrell saying, "We don't want this sort of bowling to get out of hand otherwise I will have to speak to the bowler." Later than innings, Griffith was formally warned by the same umpire.
The Australian tour of the West Indies in 1964–65 was somewhat overshadowed by concerns about the bowling action of Griffith, whom the visitors considered a "chucker". Regardless, Hall again started a Test series strongly. In the first Test at Sabina Park—Hall's favourite hunting ground—Hall took 5/60 in the first innings and then 4/45 in the second to play a leading role in the West Indies victory. Wisden was of the opinion that Hall "probably never bowled faster or straighter." It was "the most important single contribution of bowling in the five Tests" but Hall was not as effective in the remainder of the series, taking only seven wickets in the following four Tests. West Indies held on to win the series two Tests to one—the first time the West Indies defeated Australia in a Test series.
Exhausted volcano
As a result of their huge support in 1963, the West Indies were invited to tour England again only three years later. Despite the England press and public fearing the impact of Hall and his partner Griffith, it was soon clear that their powers had waned somewhat since 1963. Hall's "action was as poetic as ever and his commitment was just as great, but something was missing." He captured 18 wickets in the five Tests at an average of 30.83. However, Hall was still considered "the key man of the [West Indies] attack" and on occasion was still as damaging as ever. His finest moment of the series was in the fourth Test at Headingley where a "spell of eighty minutes by Hall at his fastest and best destroyed England" aiding his team to win the match by an innings and 55 runs and wrap up the series and the Wisden Trophy.
In 1966, the Trinidad-based company West Indian Tobacco (WITCO) engaged Hall on a three-year contract to promote youth cricket in Trinidad and Tobago, including playing for the Trinidad and Tobago national team in the Shell Shield, the West Indies first-class cricket championship. One of Hall's first roles for WITCO was to promote the Wes Hall Youth Cricket League, a new nation-wide junior cricket league.
Hall accompanied the West Indies cricket team to India and Ceylon in 1966–67 but was a shadow of the bowler that cut a swathe through India in earlier series. He injured his left knee during a net session early in the tour and the sub-continental pitches neutered his speed. Hall started the first Test of the series at Bombay in style, capturing two early wickets in a "superb" spell, "worthy of a great fast bowler" but did not take another wicket in the match. Wisden said of Hall's efforts in the series; "He could not bowl with the sustained hostility of old, and his form was erratic."
The slow decline of Hall as an effective Test match bowler became clearer after the home series against England in 1967–68. Hall "bowled with his old enthusiasm" in the second Test at Kingston, albeit on a pitch described by Wisden as "crazy paving" but as the series continued the England batsmen took a heavy toll on Hall and his long-time partner Griffith. Still, such was their prestige and their perceived psychological advantage over the English that the West Indies selectors stuck with the pair for the entire series. In the four Tests he played, Hall took only 9 wickets and those at an average of 39.22. In a summary of the tour Wisden said "In the event Hall proved to be little more than a shadow of the great fast bowler he had been. His pace was no longer to be feared ..."
The West Indies captain Garry Sobers had to fight with the selectors to have Hall included in the West Indies team to tour Australia and New Zealand in 1968–69. The West Indies Test selection panel told Sobers that Hall was "past his best" and that he would be left out of the team. Sobers still considered Hall one of the best bowlers in the Caribbean and insisted on his selection, threatening to withdraw from the tour himself if he did not get his man in the squad. The selectors eventually conceded and Hall was included in the touring party but—according to Sobers — one of the selectors was told to tell Hall he was only picked because of pressure from the captain. As it turned out Hall only played in two of the Tests in Australia with Wisden noting that "old age, as cricketers go, had finally had its say". The once fearsome pair of Hall and Griffith now "resembled exhausted volcanoes." Hall played the first Test against New Zealand at Eden Park in Auckland. Hall sustained an injury and was not able to complete the match, having bowled only 16 overs for the match and taking a solitary wicket. Hall was still unfit to play by the time the second Test started and never again played Test cricket.
After Test cricket
After the New Zealand tour, Hall joined the Barbados team for a short tour of England. Hall played two first-class matches on the tour, capturing two wickets at an average of 53.00. Hall then returned to Trinidad to complete his last season in the Shell Shield and his contract with WITCO. Hall met with moderate success, taking 15 wickets for Trinidad at a respectable average of 22.46. Hall's last first-class match was for Barbados against the touring Indians in 1971.
Before Hall left Trinidad in 1970, Gerard Pantin — a Catholic priest in the Holy Ghost Fathers order — asked Hall if he would assist him in forming a humanitarian program to assist the poor and marginalised residents of the Laventille community. Hall agreed and together the two men walked through the dangerous neighbourhood, simply asking the residents how they could help them. This mission grew to become the SERVOL (Service Volunteered For All) voluntary organisation that now operates throughout Trinidad and Tobago and elsewhere in the Caribbean. While Hall returned to Barbados three months after the program started, he is recognised as one of SERVOL's co-founders.
Hall has served Barbados and West Indian cricket in a variety of roles since the end of his playing days including chairing the West Indies selection panel for some years. Hall also accompanied many touring West Indies teams as manager, including the ill-fated 1995 tour of England, marred by player unrest. In 2001 Hall was elected president of the West Indies Cricket Board. During his time as president Hall was instrumental in attracting the 2007 Cricket World Cup to the West Indies. Hall also developed a system of collective bargaining with the West Indies Players Association. Hall chose not to stand for re-election in 2003, citing health problems. Hall was a member of the board of directors of the Stanford 20/20 cricket project.
At the end of his career as a cricketer, Hall reflected, "I realised that I’d been playing for ten years, and I was married with three children and I didn’t have any money." After working with SERVOL in Trinidad, Hall "knew from that moment on, [he] would commit [his] life to service." He studied Industrial Relations and Human Resource Management at the Industrial Society in London and then returned to Cable and Wireless in Barbados to take a role as Regional Staff Welfare Manager. As well as his role with WITCO in Trinidad, Hall also had high-profile roles in private enterprise with Banks Barbados Brewery and Sandals Resorts.
Hall became involved in Barbadian politics, joining the Democratic Labour Party. First appointed to the Barbados Senate, Hall was later elected to the House of Assembly. Hall was elected as the representative for the Assembly constituency of St. Michael West Central in 1986 and re-elected in 1991. In 1987, Hall was appointed Minister of Tourism and Sports in the Government of Barbados. As Tourism Minister, Hall has been given credit for developing the sports tourism market in Barbados.
On a visit to Florida in 1990, Hall attended a Christian religious service. Impressed by the preacher, during the service, Hall "made a very serious decision to give [his] heart and life to God." Hall attended Bible school and was later ordained a minister in the Christian Pentecostal Church. Notably, Hall ministered to fellow Barbadian fast bowler Malcolm Marshall while Marshall was dying from colon cancer.
Hall is a member of the West Indies Cricket Hall of Fame. and the ICC Cricket Hall of Fame. For his work in tourism, Hall has been awarded the Caribbean Tourism Organisation's Lifetime Achievement Award. The University of the West Indies awarded Hall an honorary Doctorate of Laws in 2005. Hall and fellow Barbadian fast bowler Charlie Griffith have a grandstand at Kensington Oval named after them—the Hall & Griffith Stand. Hall was knighted in the 2012 Birthday Honours for services to sport and the community.
Style and personality
Hall was a tall and muscular cricketer, tall and bearing the "physique and strength of a bodybuilder." He had a graceful, classical action and one of the longest run-ups in Test cricket. A genuinely fast bowler, he was timed at . Hall was able to sustain pace and hostility for very long spells—during the Test against England at Lord's in 1963 he bowled unchanged for over three hours on the final day. While Hall was an aggressive fast bowler, he was not one to set out to injure the batsman. The England cricketer Ted Dexter—himself hit several times by Hall—said "there was never a hint of malice in [Hall] or in his bowling". Hall himself said after one of his deliveries fractured Australian cricketer Wally Grout's jaw "It made me sick to see Wal leaving and it made me sicker to hear some jokers in the crowd ranting on as though I had intentionally hurt [Grout]".
While Hall could never be described as an all-rounder, on occasions he was an effective batsman. His one century in first-class cricket was against Cambridge University Cricket Club at Fenner's—scored in 65 minutes, the fastest century of the 1963 English season. Wisden said of this innings, "[Hall's] batting promised so much ... [he] made his runs in the classic mould, not in the unorthodox manner usually adopted by fast bowlers." With his characteristic humour, Hall said of this innings, "Ah, but it wasn't any old hundred, it was against the intelligentsia."
Hall was one of the most popular cricketers of his day. The Australian commentator Johnnie Moyes described Hall as "a rare box-office attraction, a man who caught and held the affections of the paying public." Hall was particularly popular in Australia. When invited back to play for Queensland in the Sheffield Shield in 1961–62, Hall arrived in Brisbane to "scenes more in keeping with the arrival of a pop star, a thousand people jamming the old terminal building at Eagle Farm airport to welcome him." Hall was fond of a bet and was a keen follower of horseracing. Hall is known as a good humoured man; C. L. R. James observed "Hall simply exudes good nature at every pore." Tony Cozier states "[Hall] is renowned for his entertaining, if prolonged oratory, as well as for his tardiness."
Publications
Pace Like Fire (1965)
Notes
References
External links
1937 births
Living people
Barbadian cricketers
Barbados cricketers
Barbadian knights
Commonwealth XI cricketers
Queensland cricketers
Trinidad and Tobago cricketers
West Indies Test cricketers
International Cavaliers cricketers
Test cricket hat-trick takers
West Indies cricket team selectors
Government ministers of Barbados
Members of the Senate of Barbados
Members of the House of Assembly of Barbados
Pentecostal pastors
People educated at Combermere School
Cricket players and officials awarded knighthoods
Barbadian sportsperson-politicians
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"A Barefoot Dream () is a 2010 drama film co-production between South Korea and Japan directed by Kim Tae-kyun. It is based on the true story of Kim Shin-hwan, a retired Korean footballer who goes to East Timor after his business fails and launches a youth football team, thus becoming the \"Hiddink of Korea.\" The film was selected as the South Korean entry for the Best Foreign Language Film at the 83rd Academy Awards but it did not make the final shortlist. The film recorded 332,699 admissions during its theatrical run in South Korea.\n\nPlot\nKim Won-kang (Park Hee-soon) is a former football prospect whose life did not turn out quite as he had hoped. He heads to East Timor, where he thinks there will be plenty of opportunities for him. One day, he sees a group of street kids playing football with bare feet. Thinking he can score by selling football shoes, he opens a sports equipment store, but realizes none of the kids can afford those fancy shoes or jerseys. Again, despaired, he is about to close up the store. Then, he decides to teach the kids how to play football. Penniless and still without shoes, they decide to compete at the International Youth Football Championship in Japan.\n\nCast\n Park Hee-soon as Coach Kim Won-kang\n Ko Chang-seok as Park In-gi\n Francisco Varela as Ramos\n Fernando Pinto as Motavio\n Junior Da Costa as Tua\n Marlina Simoes as Josephine\n Kei Shimizu as Dozyo\n Im Won-hee as Director Poong\n Kim Seo-hyung as Reporter Yu Bo-hyeon\n Shin Cheol-jin as Shin Young-hoon\t\n Cho Jin-woong as James\n\nSee also\n List of submissions to the 83rd Academy Awards for Best Foreign Language Film\n List of South Korean submissions for the Academy Award for Best Foreign Language Film\n\nReferences\n\nExternal links\n\n2010 films\n2010 drama films\n2010s sports drama films\nFilms directed by Kim Tae-kyun\nSouth Korean sports drama films\nSouth Korean films\nAssociation football films\nKorean-language films\nShowbox films\nEast Timor–South Korea relations\nFilms set in East Timor",
"Michael Patrick (born September 9, 1944) is a retired American sportscaster, known for his long tenure with ESPN.\n\nEarly career\nPatrick began his broadcasting career in the fall of 1966 at WVSC-Radio in Somerset, Pennsylvania. In 1970, he was named Sports Director at WJXT-TV in Jacksonville, Florida, where he provided play-by-play for Jacksonville Sharks' World Football League (WFL) telecasts (1973–74). He also called Jacksonville University basketball games on both radio and television.\n\nFrom 1975 until 1982, he worked for WJLA-TV as a sports reporter and weekend anchor. During this period, Patrick also did play-by-play for Maryland Terrapins football and basketball broadcasts as well as pre-season games for the Washington Football Team when WJLA had the TV rights to broadcast those games.\n\nESPN\n\nBeginning in 1982, Patrick worked for ESPN, where he is best known for his role as play-by-play announcer on the network's Sunday Night Football telecasts, with Paul Maguire and Joe Theismann from 1987–2005. Patrick was briefly replaced in 2004 by Pat Summerall, while he recovered from heart bypass surgery.\n\nHe has also called college football, men's and women's college basketball, and the College World Series for the network, as well as several NFL playoff games for ABC Sports while the network held the Monday Night Football television package.\n\nIn 2006, Patrick became the lead play-by-play announcer for ESPN on College Football Primetime, along with Todd Blackledge and field reporter Holly Rowe. In July 2009, ESPN announced that Patrick would begin calling Saturday afternoon ESPN/ABC college football for the 2009 college football season, which he did through 2017.\n\nIn addition, Patrick called the NCAA Women's Division I Basketball Championship from 1996 through 2009 and the College World Series in Omaha, Nebraska from 2003 until 2014.\n\nOn February 21, 2018, Patrick retired from ESPN after 35 years with the network.\n\nNon ESPN-related assignments\n\nPatrick also did play-by-play of Atlantic Coast Conference (ACC) football and basketball games for Jefferson-Pilot (now Lincoln Financial Sports) between 1984 and 1986.\n\nPatrick is the play-by-play man for MVP 06: NCAA Baseball as well as MVP 07: NCAA Baseball.\n\nFor 2015, 2016 and 2017, Patrick did play-by-play for the Cleveland Browns preseason football games.\n\nPatrick resides in northern Virginia with his wife, Janet.\n\nReferences\n\n1944 births\nLiving people\nAmerican television sports announcers\nCollege baseball announcers in the United States\nWomen's college basketball announcers in the United States\nCollege basketball announcers in the United States\nCollege football announcers\nGeorge Washington University alumni\nMaryland Terrapins men's basketball announcers\nMaryland Terrapins football announcers\nNational Football League announcers\nPeople from Clarksburg, West Virginia\nWorld Football League announcers\nJournalists from West Virginia\nTelevision anchors from Jacksonville, Florida"
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"Wes Hall",
"Early life and career",
"When was he born?",
"I don't know.",
"Where was he born?",
"in Saint Michael, Barbados--\"just outside the walls of [HM Prison] Glendairy\"--",
"DId he play sports as a youth?",
"At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men"
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who were his teammates?
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Who were Wes Hall teammates on the cricket team?
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Wes Hall
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Hall was born in Saint Michael, Barbados--"just outside the walls of [HM Prison] Glendairy"--to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King. After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise". Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957-58. CANNOTANSWER
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One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.
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Sir Wesley Winfield Hall (born 12 September 1937) is a Barbadian former cricketer and politician. A tall, strong and powerfully built man, Hall was a genuine fast bowler and despite his very long run up, he was renowned for his ability to bowl long spells. Hall played 48 Test matches for the West Indies from 1958 to 1969. Hall's opening bowling partnership with fellow Barbadian Charlie Griffith was a feature of the strong West Indies teams throughout the 1960s. Hall was one of the most popular cricketers of his day and was especially popular in Australia, where he played two seasons in the Sheffield Shield with Queensland.
A wicket-keeper/batsman as a schoolboy, Hall did not take up fast bowling until relatively late. He was included in the West Indies squad to tour England in 1957 having only played one match of first-class cricket. He made his Test cricket debut against India in 1958 and was instantly successful. He took a Test hat-trick in Pakistan in 1959, the first West Indian cricketer to do so. Hall bowled the final over in two famous Test matches, the Tied Test against Australia in 1960 and the Lord's Test against England in 1963. Years of non-stop cricket and resultant injury reduced Hall's effectiveness in the latter part of his Test career.
After his playing days Hall entered Barbadian politics, serving in both the Barbados Senate and House of Assembly and appointed Minister of Tourism in 1987. He was also involved in the administration of West Indies cricket as a selector and team manager and served as President of the West Indies Cricket Board from 2001 to 2003. Hall was later ordained a minister in the Christian Pentecostal Church. He is a member of the ICC Cricket Hall of Fame and the West Indies Cricket Hall of Fame. In 2012 he was created a Knight Bachelor for services to sport and the community.
Early life and career
Hall was born in Saint Michael, Barbados—"just outside the walls of [HM Prison] Glendairy"—to a teenaged mother, his father a sometime light-heavyweight boxer. Hall began his schooling at St Giles' Boys' School and later obtained a place at the renowned Combermere School thanks to a free scholarship. At Combermere, he played for the school cricket team initially as a wicketkeeper/batsman. At the time the leading schools in Barbados played against grown men in the elite Division 1 of the Barbados Cricket Association and Hall was exposed to a high standard of cricket at an early age. One of his teammates at Combermere was the school groundskeeper, the West Indian Test cricketer Frank King.
After completing his schooling, Hall found employment with the cable office in Bridgetown. Hall played for the Cable Office cricket team and it was there that Hall took up fast bowling. In a match against Wanderers, Hall was asked to fill in when his team's regular opening bowler was absent. He took six wickets that day and decided that bowling would be his path to the West Indies team. His talent was soon recognised and in 1956 he was included in the Barbados team to play E. W. Swanton's XI in 1956. Hall, still very young and inexperienced, did not take a wicket in the match, his first-class cricket debut. Hall was unlucky, however, not to pick up a wicket having Colin Cowdrey dropped by Kenneth Branker at first slip. Despite the lack of success Hall did catch the eye of Swanton who marked him down as a bowler of "great promise".
Based partly on this promise, Hall was selected in the West Indian squad to tour England in 1957. Despite great enthusiasm, Hall struggled in the unfamiliar surroundings, unable to pitch the ball anywhere near the wicket. Hall remarked later "When I hit the softer wickets I was like a fish out of water." Hall did not play in any of the Test matches and in first-class matches on the tour as a whole took 27 wickets at an average of 33.55. Hall's lack of success in England saw him overlooked for the entire home Test series against Pakistan in 1957–58.
Test career
Debut and hat-trick
Originally left out of the West Indies team to tour India and Pakistan in 1958–59, Hall was called into the team as a backup for the Trinidadian Jaswick Taylor after the all-rounder Frank Worrell withdrew from the team at a late stage. Hall met with some success an early match against Baroda, taking 5 wickets for 41 runs (5/41) in Baroda's second innings. This performance saw Hall overtake Taylor to become the first-choice partner of Roy Gilchrist in the Test team. The pair had a highly successful Test series against the Indians with Wisden Cricketers' Almanack describing the duo as "two fearsome opening bowlers reminiscent of the days of [Manny] Martindale and [Learie] Constantine."
Hall made his debut in the first Test against India at Brabourne Stadium at Bombay and met with almost instant success. He dismissed the Indian opener Nari Contractor for a duck and quickly followed than with the wickets of Pankaj Roy and Vijay Manjrekar. In what ended as a dour draw, Hall finished with 3/35 in the first innings and 1/72 in the second. When Gilchrist was dropped from the second Test at Modi Stadium in Kanpur, Hall—in only his second Test match—was given the responsibility of leading the West Indies bowling attack. Hall was equal to the task, playing "a decisive part in India's downfall" taking 11 wickets in the match. Over the entire five Test series—won by the West Indies three Tests to nil—Hall and Gilchrist terrorised the Indian batsman, who had neither the "experience or the physical capacity" to stand up to the West Indian fast bowling duo.
The West Indies were not as successful in the three Test series against Pakistan, losing the first two Tests before winning the final Test—the first time Pakistan had lost a Test match at home. Hall bowled well in both the matches, however. In the second Test at Dacca, Hall relied on movement through the air rather than sheer pace and had Pakistan reeling on stage, five wickets down for only 22 runs made (22–5) In the third Test at Bagh-e-Jinnah in Lahore, Hall made history by becoming the first West Indian to take a hat-trick in Test cricket. His victims were Mushtaq Mohammad (aged 15 and in his debut Test match, at the time the youngest cricketer to play Test cricket), Nasim-ul-Ghani and Fazal Mahmood.
Hall once again performed well when England toured the West Indies in 1959–60. Wisden remarked that Hall "with a lovely action, genuine speed and remarkable stamina" was "always the biggest threat to England." Hall came close to winning the third Test at Sabina Park in Jamaica for the West Indies on the first day when England were reduced to 165/5 at stumps, Hall having captured five of the wickets to fall. Only Colin Cowdrey was able to stand in his way with Hall finishing the innings with 7/69, his best bowling figures in Test cricket. In the third Test in a placid pitch at Bourda in British Guiana, Hall again broke the back of England's batting taking six wickets for 90 runs in the England first innings. This included bowling M. J. K. Smith out for a duck for the second Test in a row. Hall played alongside his great partner Charlie Griffith in Test cricket for the first time in the fifth Test at Port of Spain. By this stage, Hall had "burned himself out" and he bowled only four overs in the England second innings as the West Indies pushed for a series-equalling win. Unfortunately for the West Indies and Hall, England held on for a draw and won the series one Test to nil.
In April 1960, Hall began the first of his three seasons as a professional with Accrington Cricket Club in the Lancashire League. Hall was first offered a contract by Accrington for the 1959 season, which he turned down through loyalty to his employer in Barbados who had provided him with leave to tour England. Hall was a success in League cricket, capturing 100 wickets in the 1960 season, 106 wickets in the 1961 season (when Accrington won the Lancashire League championship) and 123 wickets in the 1962 season, falling just short of the then-League record. Hall also managed to capture 10 wickets in an innings on two occasions with Accrington, 10/57 against Burnley and 10/28 against Bacup. Hall left Accrington in 1964 to take up a less restrictive contract with Great Chell Cricket Club in the Staffordshire League. During the 1964 season, Hall married his childhood sweetheart Shurla in Liverpool.
Success in Australia
The 1960–61 Test series against Australia is one of the most famous in the history of Test cricket and Hall played a major role in its outcome. The first Test in the series at the Gabba in Brisbane had a thrilling finish. The West Indies set Australia a target of 233 runs to win the match. Hall broke through early, taking the wickets of Bob Simpson and Neil Harvey, followed, after some stubborn resistance, by Norm O'Neill. The West Indies captain Frank Worrell then dismissed Colin McDonald before Hall struck again for his fourth wicket, Les Favell caught by Joe Solomon. Australia were 57/5 and the West Indies seemed set to win the match. After the sixth Australian wicket fell with Australia having made only 92 runs, the Australian captain Richie Benaud came to the crease to join Alan Davidson. Together the pair took Australia to 226/7 and now Australia looked assured victors with only 7 runs to get. Joe Solomon then turned the game again with a direct hit on the stumps to run out Davidson. Hall was entrusted by his captain Worrell to bowl the last over of the day with Australia needing four runs and West Indies needing three wickets to win the game. In one of the most exciting finishes in Test match history, Hall had Benaud caught behind, then dropped a catch and two Australian batsmen were run out trying to make the winning run. The match finished in a tie, the first in Test cricket.
Hall bowled well in the second Test at the Melbourne Cricket Ground, taking 4/51 in the first innings and another two wickets "bowling at his fastest" in the second innings in which Australia comfortably made the 70 runs they needed to win the Test. The pitches used in the remaining three Test of the series favoured slow bowling and Hall did not play as large a role from that point on. West Indies won the third Test, the fourth Test was a thrilling draw but Australia won the final Test, at Melbourne again, to win the series two Tests to one. Over the course of the series both teams had striven to play bright, attractive cricket and the Australian public took the West Indian team to their hearts. Hall and the West Indies were farewelled with a ticker-tape parade through the streets of Melbourne. Hundreds of thousands of Australians keen to express their appreciation for the team brought the city to a standstill and reportedly brought Hall and his teammates to tears. Hall later described the spontaneous display of affection from the public as one usually "reserved for royalty or the Beatles".
His popularity in Australia saw Hall invited to play with Queensland for the 1961–62 Sheffield Shield season. Hall enjoyed an immensely successful season with Queensland and a key part of the team's second place in the Sheffield Shield competition—behind perennial powerhouse New South Wales. Hall took 43 wickets for the season at an average of 20.25, trailing only Richie Benaud of New South Wales in the season aggregate. Hall's 43 wickets set a new record for a Queensland bowler in a first-class cricket season. Hall returned for a second season with Queensland in 1962–63, taking 33 wickets for the season as Queensland again finished runner-up in the Sheffield Shield, this time to Victoria. Towards the end of Hall's second season, it became clear that the demands of playing cricket 12 months of the year were starting to take a toll on Hall. Queensland were keen to see Hall return for another season in 1963–64 but Hall declined, fearing his body would not stand up to the strain.
Finest hour
After his first season with Queensland, Hall returned to the Caribbean to join the West Indies team in their Test series against India in 1962. Hall took up where he left off against the Indians two years before. The Indians were a better batting side than the one Hall destroyed in the sub-continent in 1960 but they were still unable to come to terms with his pace. The West Indies won the series 5 Tests to nil and Hall took 27 wickets at an average of 15.74. When the second Test at Sabina Park was heading towards what looked to be a tame draw on a placid pitch, Hall broke the game wide open with some "grand bowling", taking 6/49 and West Indies won the match by an innings. In the fourth Test at Queens Park Oval, Hall was part of a 93-run partnership for the last wicket, making 50 runs himself. He then scythed through the Indian top order, taking the first five wickets of the innings to have India at 30/5 at one stage, a position they could not recover from.
These efforts led him to achieve the No. 1 ranking in ICC Test Bowlers ranking for 1962.
The success of Hall and his fast bowling partner Griffith saw the arrival of the West Indies pace duo in England for the 1963 Test series "greeted with the public awe and press build-up formerly accorded to [the Australians] Ted McDonald and Jack Gregory or Ray Lindwall and Keith Miller." Before the tour, Hall and fellow professional cricketers Garry Sobers and Rohan Kanhai threatened to withdraw from the team unless paid the equivalent of their professional earnings they had forsaken. Only the intervention of captain Frank Worrell saw the three join the tour. The West Indies, with their "sparkling batting, bowling and fielding", won the series three Tests to one and captured the imagination of the English public. While Hall had a successful series—taking 16 wickets at an average of 33.37—it was Griffith who was the main destroyer for the West Indies. Hall was "the ideal foil" for Griffith and played an invaluable support role. As a partnership, Hall and Griffith were "the centre of attraction and the key to victory".
Analysis of film footage at this time showed Hall bowling at 103 mph. With Griffiths bowling from the other end batsmen had nowhere to hide.
Perhaps Hall's greatest performance of the English summer was in the second Test at Lord's. On the final day of the Test, Hall bowled unchanged for 200 minutes, broken only by the tea interval. As in the Tied Test in Brisbane three years earlier, Hall found himself bowling the final over of the match with both sides still capable of winning. In the innings as a whole Hall bowled 40 overs for a return of 4/93 but despite Hall's brave efforts, England managed to hold on for a draw—the England batsman Colin Cowdrey returned to the crease with a broken arm to help save the match. The Times said of Hall that day, "His energy was astonishing, his stamina inexhaustible, his speed awesome, from the first ball to the last". Hall himself claimed that it was his "finest hour". There was a sour note in the final Test at The Oval when Hall was informally warned about intimidatory bowling. Hall bowled two successive bouncers to the England opening batsman Brian Bolus, prompting umpire Syd Buller to speak with West Indies captain Worrell saying, "We don't want this sort of bowling to get out of hand otherwise I will have to speak to the bowler." Later than innings, Griffith was formally warned by the same umpire.
The Australian tour of the West Indies in 1964–65 was somewhat overshadowed by concerns about the bowling action of Griffith, whom the visitors considered a "chucker". Regardless, Hall again started a Test series strongly. In the first Test at Sabina Park—Hall's favourite hunting ground—Hall took 5/60 in the first innings and then 4/45 in the second to play a leading role in the West Indies victory. Wisden was of the opinion that Hall "probably never bowled faster or straighter." It was "the most important single contribution of bowling in the five Tests" but Hall was not as effective in the remainder of the series, taking only seven wickets in the following four Tests. West Indies held on to win the series two Tests to one—the first time the West Indies defeated Australia in a Test series.
Exhausted volcano
As a result of their huge support in 1963, the West Indies were invited to tour England again only three years later. Despite the England press and public fearing the impact of Hall and his partner Griffith, it was soon clear that their powers had waned somewhat since 1963. Hall's "action was as poetic as ever and his commitment was just as great, but something was missing." He captured 18 wickets in the five Tests at an average of 30.83. However, Hall was still considered "the key man of the [West Indies] attack" and on occasion was still as damaging as ever. His finest moment of the series was in the fourth Test at Headingley where a "spell of eighty minutes by Hall at his fastest and best destroyed England" aiding his team to win the match by an innings and 55 runs and wrap up the series and the Wisden Trophy.
In 1966, the Trinidad-based company West Indian Tobacco (WITCO) engaged Hall on a three-year contract to promote youth cricket in Trinidad and Tobago, including playing for the Trinidad and Tobago national team in the Shell Shield, the West Indies first-class cricket championship. One of Hall's first roles for WITCO was to promote the Wes Hall Youth Cricket League, a new nation-wide junior cricket league.
Hall accompanied the West Indies cricket team to India and Ceylon in 1966–67 but was a shadow of the bowler that cut a swathe through India in earlier series. He injured his left knee during a net session early in the tour and the sub-continental pitches neutered his speed. Hall started the first Test of the series at Bombay in style, capturing two early wickets in a "superb" spell, "worthy of a great fast bowler" but did not take another wicket in the match. Wisden said of Hall's efforts in the series; "He could not bowl with the sustained hostility of old, and his form was erratic."
The slow decline of Hall as an effective Test match bowler became clearer after the home series against England in 1967–68. Hall "bowled with his old enthusiasm" in the second Test at Kingston, albeit on a pitch described by Wisden as "crazy paving" but as the series continued the England batsmen took a heavy toll on Hall and his long-time partner Griffith. Still, such was their prestige and their perceived psychological advantage over the English that the West Indies selectors stuck with the pair for the entire series. In the four Tests he played, Hall took only 9 wickets and those at an average of 39.22. In a summary of the tour Wisden said "In the event Hall proved to be little more than a shadow of the great fast bowler he had been. His pace was no longer to be feared ..."
The West Indies captain Garry Sobers had to fight with the selectors to have Hall included in the West Indies team to tour Australia and New Zealand in 1968–69. The West Indies Test selection panel told Sobers that Hall was "past his best" and that he would be left out of the team. Sobers still considered Hall one of the best bowlers in the Caribbean and insisted on his selection, threatening to withdraw from the tour himself if he did not get his man in the squad. The selectors eventually conceded and Hall was included in the touring party but—according to Sobers — one of the selectors was told to tell Hall he was only picked because of pressure from the captain. As it turned out Hall only played in two of the Tests in Australia with Wisden noting that "old age, as cricketers go, had finally had its say". The once fearsome pair of Hall and Griffith now "resembled exhausted volcanoes." Hall played the first Test against New Zealand at Eden Park in Auckland. Hall sustained an injury and was not able to complete the match, having bowled only 16 overs for the match and taking a solitary wicket. Hall was still unfit to play by the time the second Test started and never again played Test cricket.
After Test cricket
After the New Zealand tour, Hall joined the Barbados team for a short tour of England. Hall played two first-class matches on the tour, capturing two wickets at an average of 53.00. Hall then returned to Trinidad to complete his last season in the Shell Shield and his contract with WITCO. Hall met with moderate success, taking 15 wickets for Trinidad at a respectable average of 22.46. Hall's last first-class match was for Barbados against the touring Indians in 1971.
Before Hall left Trinidad in 1970, Gerard Pantin — a Catholic priest in the Holy Ghost Fathers order — asked Hall if he would assist him in forming a humanitarian program to assist the poor and marginalised residents of the Laventille community. Hall agreed and together the two men walked through the dangerous neighbourhood, simply asking the residents how they could help them. This mission grew to become the SERVOL (Service Volunteered For All) voluntary organisation that now operates throughout Trinidad and Tobago and elsewhere in the Caribbean. While Hall returned to Barbados three months after the program started, he is recognised as one of SERVOL's co-founders.
Hall has served Barbados and West Indian cricket in a variety of roles since the end of his playing days including chairing the West Indies selection panel for some years. Hall also accompanied many touring West Indies teams as manager, including the ill-fated 1995 tour of England, marred by player unrest. In 2001 Hall was elected president of the West Indies Cricket Board. During his time as president Hall was instrumental in attracting the 2007 Cricket World Cup to the West Indies. Hall also developed a system of collective bargaining with the West Indies Players Association. Hall chose not to stand for re-election in 2003, citing health problems. Hall was a member of the board of directors of the Stanford 20/20 cricket project.
At the end of his career as a cricketer, Hall reflected, "I realised that I’d been playing for ten years, and I was married with three children and I didn’t have any money." After working with SERVOL in Trinidad, Hall "knew from that moment on, [he] would commit [his] life to service." He studied Industrial Relations and Human Resource Management at the Industrial Society in London and then returned to Cable and Wireless in Barbados to take a role as Regional Staff Welfare Manager. As well as his role with WITCO in Trinidad, Hall also had high-profile roles in private enterprise with Banks Barbados Brewery and Sandals Resorts.
Hall became involved in Barbadian politics, joining the Democratic Labour Party. First appointed to the Barbados Senate, Hall was later elected to the House of Assembly. Hall was elected as the representative for the Assembly constituency of St. Michael West Central in 1986 and re-elected in 1991. In 1987, Hall was appointed Minister of Tourism and Sports in the Government of Barbados. As Tourism Minister, Hall has been given credit for developing the sports tourism market in Barbados.
On a visit to Florida in 1990, Hall attended a Christian religious service. Impressed by the preacher, during the service, Hall "made a very serious decision to give [his] heart and life to God." Hall attended Bible school and was later ordained a minister in the Christian Pentecostal Church. Notably, Hall ministered to fellow Barbadian fast bowler Malcolm Marshall while Marshall was dying from colon cancer.
Hall is a member of the West Indies Cricket Hall of Fame. and the ICC Cricket Hall of Fame. For his work in tourism, Hall has been awarded the Caribbean Tourism Organisation's Lifetime Achievement Award. The University of the West Indies awarded Hall an honorary Doctorate of Laws in 2005. Hall and fellow Barbadian fast bowler Charlie Griffith have a grandstand at Kensington Oval named after them—the Hall & Griffith Stand. Hall was knighted in the 2012 Birthday Honours for services to sport and the community.
Style and personality
Hall was a tall and muscular cricketer, tall and bearing the "physique and strength of a bodybuilder." He had a graceful, classical action and one of the longest run-ups in Test cricket. A genuinely fast bowler, he was timed at . Hall was able to sustain pace and hostility for very long spells—during the Test against England at Lord's in 1963 he bowled unchanged for over three hours on the final day. While Hall was an aggressive fast bowler, he was not one to set out to injure the batsman. The England cricketer Ted Dexter—himself hit several times by Hall—said "there was never a hint of malice in [Hall] or in his bowling". Hall himself said after one of his deliveries fractured Australian cricketer Wally Grout's jaw "It made me sick to see Wal leaving and it made me sicker to hear some jokers in the crowd ranting on as though I had intentionally hurt [Grout]".
While Hall could never be described as an all-rounder, on occasions he was an effective batsman. His one century in first-class cricket was against Cambridge University Cricket Club at Fenner's—scored in 65 minutes, the fastest century of the 1963 English season. Wisden said of this innings, "[Hall's] batting promised so much ... [he] made his runs in the classic mould, not in the unorthodox manner usually adopted by fast bowlers." With his characteristic humour, Hall said of this innings, "Ah, but it wasn't any old hundred, it was against the intelligentsia."
Hall was one of the most popular cricketers of his day. The Australian commentator Johnnie Moyes described Hall as "a rare box-office attraction, a man who caught and held the affections of the paying public." Hall was particularly popular in Australia. When invited back to play for Queensland in the Sheffield Shield in 1961–62, Hall arrived in Brisbane to "scenes more in keeping with the arrival of a pop star, a thousand people jamming the old terminal building at Eagle Farm airport to welcome him." Hall was fond of a bet and was a keen follower of horseracing. Hall is known as a good humoured man; C. L. R. James observed "Hall simply exudes good nature at every pore." Tony Cozier states "[Hall] is renowned for his entertaining, if prolonged oratory, as well as for his tardiness."
Publications
Pace Like Fire (1965)
Notes
References
External links
1937 births
Living people
Barbadian cricketers
Barbados cricketers
Barbadian knights
Commonwealth XI cricketers
Queensland cricketers
Trinidad and Tobago cricketers
West Indies Test cricketers
International Cavaliers cricketers
Test cricket hat-trick takers
West Indies cricket team selectors
Government ministers of Barbados
Members of the Senate of Barbados
Members of the House of Assembly of Barbados
Pentecostal pastors
People educated at Combermere School
Cricket players and officials awarded knighthoods
Barbadian sportsperson-politicians
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"The ICC AllStars was an early integrated professional basketball team of the barnstorming era led by David DeJernett. In 1935 DeJernett finished his fourth year of eligibility at Indiana Central College (now the University of Indianapolis) and started a pro career with former teammates from Indiana Central as well as Washington (IN) High School. The ICC All-Stars also featured Burl Friddle, a Franklin Wonder Fiver and Twenties pro who had coached DeJernett in high school.\n\nRounding out the ICC AllStars were guards Billy Schaeffer and Harry Spurgeon, both native Hoosiers from Southern Indiana who had played at Indiana Central, and forwards Jack \"Red\" Heavenridge, Eugene Gilmore, and Paul Gross. In the 1930s seven-man professional touring squads of former amateur teammates were not uncommon; the New York Renaissance club, for example, was known as the \"Magnificent Seven\" and included several players who'd been schoolboy teammates in Philadelphia. Similarly, the Harlem Globetrotters originated amongst teammates at Wendell St Phillips High School in Chicago. Instead of an all-white or all-black team, however, the ICC AllStars played integrated basketball ahead of the other pro clubs. The NBL's Buffalo Bisons followed suit the next season when Hank Williams joined their starting lineup.\n\nThe ICC AllStars' most prominent win was a 40–35 victory over the Jasper Coca-Colas, champions of the Louisville-based Major Falls Cities League, in late March 1935, behind DeJernett's 18 points. The Cokes, featuring Purdue captain Ray Eddy, Indiana University stars Woody Weir and Vic Dauer, and Akron Firestone veteran Tom Rea, had defeated the AllStars 33–31 in an earlier match and the next year beat the powerful New York Rens 57–53.\n\nReferences\n\nBasketball teams in Indiana",
"Eric Mackenzie Robertson (12 September 1892 – 28 July 1975) was a Newfoundland marathoner, who competed at the 1920 Summer Olympics in Antwerp, Belgium for Great Britain. He was born in St. John's, Newfoundland.\n\nAfter the war he settled in London. While working in a clothing store some of his co-workers were members of the Polytechnic Harriers, and through them he developed his love of running. In 1920, he travelled to Antwerp to cheer on his teammates from the Harriers, who were members of the British team. However, the British team was short one person and his teammates convinced their coach to let Robertson run in the marathon. His inexperience showed as he finished in last place, 35 minutes behind the second to last place finisher.\n\nReferences\n\n1892 births\n1975 deaths\nNewfoundland Colony people\nNewfoundland military personnel of World War I\nOlympic athletes of Great Britain\nBritish male long-distance runners\nCanadian male long-distance runners\nSportspeople from St. John's, Newfoundland and Labrador\nAthletes (track and field) at the 1920 Summer Olympics\nRoyal Newfoundland Regiment soldiers"
] |
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